jazzbo

Hoping to catch that on the rebroadcast, DVR failed me! Also messed me up on Bates Motel this week. ARGH!

Well, I have a phase button, and when I push it I assume both channels are inverted the same way and there is a distinct sonic difference every time. Here is what it says in the manual for the DAC in question (PS Audio PerfectWave DAC Mark II): Phase (Polarity) Touching this control on the front panel touch screen (or the remote) will invert the absolute phase (polarity) of the audio signal. This is the same thing as reversing the loudspeaker inputs, placing + to – and – to +. Phase reversal happens on many recordings, sometimes even within the same CD or DVD. If the track sounds a little “off” try reversing the phase with this control

Thanks Jim, I wasn't sure if the Sonny Clark Quintet material had made it onto those discs, had a vague idea but am not home with my cds. I may get the John Pattons from this batch too, they're great sessions.

Um. . . sorry, I beg to differ. Reversing the phase is audible, always has been for me in any system I've tried it on, and I've had two other listening partners with me evaluating music with phase inverted and restored and we three hear audible differences.

I only remember Poppin' as a TOCJ cd and a part of the Mobley Mosaic. . . I may be wrong, but I don't remember a US cd release. Two Bones was only available in the US as part of the Fuller Mosaic. I'm not positive Sonny Clark Quintet has been available on cd at all in the US, nor has Hank Mobley Quintet been on cd in the US outside the Mobley Mosaic I believe. Jubilee Shout has only been on cd in the US on the Turrentine Mosaic I believe. I hope I'm wrong on these counts. I'm in for Oblique because I love that session so much. Wish they had included Inner Glow.

yep! that one caught my eye. as did "k.b. blues", and "two bones". the material on sonny clark's "blues in the night" been issued (on an sbm?) under the title "standards" in north america, right? that may be a nice upgrade. wonder which artwork they'll choose... That's a good question. I'd prefer the previous cd version cover be released (the one with Clark).

I like having it all lumped together, to revel in it, dip in and out of. This has been a great three or four years for classical music exploration, and I have a great pleasure now in taking a box set over to my parents' house (where I spend all my days) and Dad and I listening through the box. . . and then bringing over another. This past year we've gone through many including Hayden sympnonies, Mozart wind and violin works, Beethoven piano sonatas, the George Szell, Murray Perahia and Jascha Heifetz box sets, and more. This wouldn't work with jazz box sets as my parents have far less interest in jazz than I, but I still and would still buy some released by Universal from the EMI holdings.

I can certainly see the advantages and timeliness of that proposal, though I (and probably a dying off breed of jazz fan) have no interest in downloading and wish for discs and booklets etc. I think we're seeing these classical box sets in part because we are at the eclipse of the physical product age (imo sadly) -- this has offered a window that the labels believe they better shove stuff through now while they can. They may move in this direction with jazz. .. though I think we'll continue to only really see what we have already, such as the Columbia box sets that Pop Market markets, and the Universal Armstrong, Bechet, Holiday et al sets -- the biggest names will be trotted out again, and that will have less of an appeal to the longtime jazz fan.

Not one channel out of phase with the other. I'm not sure reversing the phase makes it perfect, but it sounds better that way to me on my system.

Agreed.

Monday Michiru "Routes Live in Japan." Bass is recorded too high at the beginning of the show, but damn, this is a good concert video. What a woman!

Internet commerce has changed it all. Now not even big chains can comfortably stay afloat, Mom and Pops are taking death gasps with every other breath. Soon everything other than perishable goods and controlled things like booze will be drop shipped to your door or you can take a walk to your corner amazon depot and have it handed to you over the counter.

Wow. Well, I'd certainly like to know why as well!

Peter, are you possibly ordering Storyville items that might be orderd by Dusty Groove to ship to you? Just doesn't make sense in almost any other way. . . .

I recommend either of the two on "The Old Masters," they're among the best single discs of Mildred material I've owned. Sound is quite good actually. Album Notes Personnel includes: Mildred Bailey (vocals); Eddie Lang's Orchestra, Frank Trumbauer's Orchestra, Jimmie Noone's Orchestra, Casa Loma Orchestra, Paul Whiteman, Matty Malneck.Recorded between 1929 & 1932. Includes liner notes by Rob Bamberger.Personnel: Mildred Bailey (vocals).Liner Note Author: Robert Bamberger.Photographer: Frank Driggs.Unknown Contributor Roles: Ken Crawford; Bill Thompson. The second of two CDs from the TOM ("The Old Masters") label finishes the documentation of singer Mildred Bailey's earliest recordings. Bailey is featured with Paul Whiteman, the Dorsey Brothers Big Band, the Casa Loma Orchestra("Heat Wave"), an all-star group with Benny Goodman (and tenor-great Coleman Hawkins) and on a her few of her own sessions. Although the emphasis is on ballads, the program generally holds on to one's interest (despite a few songs with racist lyrics, notably "Snowball") and the Goodman session (which is rounded off with an instrumental version of "Georgia Jubilee") is a near-classic. Other highlights include "I'll Never Be the Same," "Love Me Tonight," a touching "There's a Cabin in the Pines" and Bailey's earliest version of her future theme song "Rockin' Chair." http://www.allmusic.com/album/band-vocalist-mildred-bailey-vol-2-mw0000004044

I've listened to this one a few times more. I like it, a well-done project.

I'm a big fan. In my college time it wasn't a party unless "Donny Hathaway Live" was in a stack of records ready to be played.

Right. I imagine they've licensed it to Resonance. Think what a shot in the arm this may be for them.

Sure they could have. But how generous do you think UME is in such matters? My guess: not very if at all.

There you go.

Maybe the Coltrane family wants to be supportive of Resonance Records mission? And perhaps UME thought that the nature of this release as far as sound quality warranted a lease to Resonance more than a UME Impulse! release. http://www.resonancerecords.org/artist.php?artist=John+Coltrane Resonance Records A Non-Profit Jazz Label With a Mission. Devoted to Preserving Jazz and Discovering the Rising Stars of Tomorrow. Resonance Records is a program of a California 501©(3) non-profit corporation, the Rising Jazz Stars Inc., created to discover the next jazz stars - passionate, brilliant musicians from around the world. We assist and support them through recording, performance opportunities and distribution of their art. Every Resonance CD and DVD is produced without compromise, to create and preserve our artists' jazz legacy.

It's one of my favorite years. . . .

Apparently this cover was briefly posted on dead.net and retracted and someone saved it. . . most likely this is it, we should have an official announcement soon. 12/12/69 Thelma Theater, LA https://archive.org/details/gd69-12-12.sbd.gerland.10988.sbeok.shnf

I find the change with polarity correction more profound than you seem to if you've tried it. But regardless, I don't disagree that there's no excuse for bad mastering and that it's awful that these are put out this way. But so much is put out this way that I have decided to have choices in tube biasing, NOS or over-sampling filters of various types, upsampling or not, tube-rolling and "riding the gain" in order to enjoy as best as possible what IS put out. And this has led me to be less upset about these things and granted I enjoy futzing with things but I'm having a lot more fun with the listening than I would otherwise. What else are we going to do? We are not going to change the industry's mind, and the "audiophile" releases are never going to be comprehensive or selected as we choose. Mona Lisa? This stuff was not made to be in a museum or a cathedral. So I make no apologies for working with what I ahve and what is released.

I don't expect electronic gear to save the day either but IF something has phase/polarity inverted, correcting it does improve the sound, reverses the treble/bass balance, restores the ambient information which defines a lot of the soundstage, etc. Sucks that these get released that way, but being able to correct it can improve enjoyment of the sound. At least it stopped me kvetching about these releases and allows me to actually use what i spent money on in these cases. ____ Absolutely valid point, certainly, but - as far as I know - reversed polarity is really the least (and altogether almost negligible) problem. Happens, but it is comparatively rare. What is common is mastering that just turns music into tin can sound. And THAT is only marginally (is that a word?) fixable. If a mastering engineer (one who was probably forced to do so ... that's why I would refuse to pile on him/her together with others) boosted the treble and applied all kinds of weird EQing to a recording there is only comparatively little you can do. Yes, I also try to make up for it by twiddling the knobs but, really, what's lost won't magically reappear. What you/I are doing is masking mastering/engineering decisions and there's only so much you can do to alleviate the problem(s) (plural, because usually there's more than one). I agree, bad mastering is a real problem. In the case of these Evans recordings in the box though I think the mastering is less at fault and the phase.polarity is incorrect and when corrected the mastering sounds decent. Anyway to me, on my system.