jazzbo

Yes, I'm reporting winters warmer about five in a row now, and the last two being significantly changed. I think this is global warming. But I'm only a part-time alchemist, not a real scientist. Maybe it's my alchemy that is responsible?

Heck yeah. NOT warmer summers really, but . . . warm warm warm, record warm falls and winters.

This feels like a momentous event!

Bill, you're not alone. . . when assessing my favorite Dead stuff lately and sort of organizing my collection in that light. . . 1969 and 1972 were right there in the "most played" category.

I saw this group in late 2004 and it was amazingly good. This is going to be a cd to GET!

Yeah, I've been eying that one. . . when I have some money! Looks great.

Hey, she may do fine. The way this director makes movies is very informal in some ways. I can see this working. I'll watch it!

Agreed, very good record.

I guess the point is preparation and awareness. My wife has been really paranoid about this and right now, on chemotherapy, is vulnerable. We've been preparing a bit and I have a feeling as soon as she gets this new news there will be a quickening of the pace. . . .

Revisited a few of these sets last night. Such an awesome box set. Great sound!

Harold made me a fan as well! I immediately thought of Ray Charles when I first heard this stuff. . . .

Great! Now I don't have to watch any of this, I can just read a little of this thread!

I'm a big Freddie Roach fan and I seem to like the stuff some souljazzers DON'T such as "All That's Good"!

This cd is available on Pablo: Original lp notes:

No kidding, it would be great to get the Pee Wee Russell on Dot on cd! "Plays Pee Wee Russell" is one of my favorites!

I think they're referring to the Silver-Blakey-Dorham-Mobley-Watkins group.

Yeah, it's way too bad we all don't have thousand dollar turntables, two thousand dollar phono preamps, and all the original lps!

Many more happy ones. Keep fightin' the good fight.

Here's what McMaster posted here: "I am frankly shocked and amazed at the statements being made on "McMaster Masters". It is hard to take on all of the issues that seem to be causing some of the authors to dislike the mastering work I have done. Let me start by saying that the early digital transfers of master tapes dubbed to 1610 and later 1630 format was the beginning of putting the Blue Note catalog into the digital format. It was not a matter of putting my sonic signature on the old masters but rather to do only a few sonic adjustments and present the original sound of the old masters as they were intended. The process and the digital equipment have changed very much since those early days of the first digital transfers. Today however, I still work with the same approach, keeping to the original sound of the master as it was intended.Let's set a few things straight, I do not hard pan the stereo spread on the original masters. I reduce it about 40%. I do not use digital noise reduction as a rule.Only in extreme cases and never without the permission of Michael Cuscuna. All masters are loaded into the Sonic Solutions after they are EQ'd and blended.There is no digital EQ or limiting ever done to them.I record them in 24 bit resolution and SBM2 for the output dither. The Sonic Solutions is merely a digital workstation from which we can assemble and edit the music program while staying in 24 bit. In addition, Sonic Solutions is not at all like Dolby noise reduction, and it does not color the audio program with processing and shaping techniques. We use the best converters available to assure pure audio signal conversion from analog to digital.For the LP purists on the Mosaic and Blue Note releases we take the masters and go straight to lacquer, never entering the digital domain.I would like to say that when you compare masters it is only fair to use songs that have been done at the same time and period of technology. To compare some of my old digital transfers with the new RVG releases is like comparing apples and oranges.We can't please everyone, but I hope that you will believe me when I tell you we want to deliver the best possible Blue Note CD.As Blue Note customers and fans you deserve the best possible product. Not every tape is perfect, not every CD without its flaws. However, we never take the attitude "oh, it's good enough". I for one appreciate your comments and hope to continue to deliver the best quality music possible. Remember too that this is a team effort, and the producer must approve all of the mastering. Many times when there is a major flaw and we cannot find a correct version then Michael Cuscuna will put a producers note on the jacket and try to keep the customers informed of the problems on the master. This by no way a cop out statement, it is merely to reflect the whole of the workings of all of these wonderful recordings. The implications of some of the authors are that I just carelessly master theoriginal songs and then the label just puts out the product. Not caring at all about the customer or the sound of the music.That couldn't be farther from the truth. Blue Note is and always has been a very intelligent and customer based label, they care about the consumer and they care about the music. "Regards,Ron McMaster" Up to 40% reduction of the sound stage and "a few sonic adjustments" and he mentions EQ specifically. . . this could represent quite a bit of manipulation . . . . "The original sound of the master as it was intended." I don' think he has an idea of that intention.

I find that pretty hard to believe, especially in the light of some of the things that Kevin has written about conversations with him.

I have had the lp and I have a European cd. It's fantastic music!

Sound is decent, not that heavy on reverb.

That Bud Freeman lp is a great one! This is going to be a nice cd. The more I think about this, the more I think this is going to be a real fine series for Mosaic.

Ron, I think that statement simplifies things. For example, McMaster narrowed the stereo spread on those two track tapes. That's likely not his only manipulations. RVG also does his tricks. I find these threads fascinating because it underlines to me that almost everyone has a different idea of what sounds good, and almost everyone's room and system makes a cd sound different. . . .!

The previous issue of Horacescope was I believe remastered by a Japanese engineer, not McMaster.