jazzbo

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.

Well one persons's "subpar" may not be another's if one has a flexible system. I do and I'm so glad I do.

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.

Deus, Have you ever listened to this set and other Verves with the phase/polarity inverted? I have a button on my DAC which makes this very easy. I have a theory that somewhere along the mastering/pressing chain the phase/polarity has been inverted on many Verve releases that came out at this time. When the phase/polarity is inverted (corrected perhaps) they sound much better, not harsh, with presence.

Many many happpy returns!

Well, I'd be more interested in having the bonus cuts there if I didn't have them elsewhere, I just wish I had four discs that were the four evenings each on one disc, instead of only two, and two with bad sounding cuts on the end. I never have considered the original mix (which I know mostly via the original lps, and also on a Sony MasterSound edition) as "murky." I really like the original sound. . .I've listened to it so long. Such a great reissue!

On the board people love to mock here it was noted that Charles Lloyd's "Nirvana" was labeled 2014 DSD.

Thanks alexandros! They're nice. I'm not always in the mood for this type of trio date, but when I am they'll be nice to spin.

I don't have a lot of experience with recent turntables, most of my turntable experience is from the 'sixties and 'seventies. But a few years ago I bought a Rega RP3 for my main system, and then another for my second system; they are truly musical turntables. Because of this in your shoes I'd check out the RP1.

That's a great show. . . hope you get through the On Demand in time!

Well, I had never heard the two Van Dijk (Van Dyke on one of them) releases in this series so I ordered them from cdjapan and they arrived today. (I also ordered a newer title of his). These sound very nice, and according to the obi these are 2014 DSD remasters. Which makes me think perhaps the entire series is? And if so. .. I may get a few more.

Mad Men Season Six Blu-ray

I'm not sure I prefer the original albums either, but they're part of my brain chemistry now! There is a real punch to the lp mixes that is presented differently in the new one, I think it would be very interesting if the new one was as close to the lp mix as possible. .. but it may be better this way for me actually, now that I think of it. Just an amazing reissue. Jazz reissue of the year for me I think.

Hope it's a great one!

Nice points. I have a lot of love for Teo and his work as well. Hell, I even like his reed work. An independent like Lion and Blue Note can waste his time and money making records and leaving things in the can in order to put out "what's happening," etc. Glad he could do that. The music he was cultivating was moving a little slower than these Miles growths and he and his artists could crystalize a record with less cutting and pasting than Teo. Columbia had all these raw tapes from Miles too, in the can. One of the great joys of the 'nineties was EMI and Sony putting out some of these recordings when finally there was a market.

Boy this is tough going. I've started this one as well for reading at my parents where I can be interrupted at any moment, moment after moment. How's "Spade and Archer"? Haven't gotten that far into it, been a busy week and weekend with my care for my parents. So far it's okay but it sure is NOT Hammett.

Yes, no kidding, that's an amazing assemblage. I remember how it amazed me and no one I knew in Ohio seemed to "get it" or "give a shit." Then I moved to Texas, in a year I had a job and my new partner turned out to be from Ohio, and one day I mentioned Miles and he said "On the Corner, that's the shit" and I had someone to talk to about this music that was sort of my own little unshared passion. "On the Corner" really is "something else."

I think the editing to create "Miles Davis at Fillmore" was brilliant. I think it was meant to be a sort of "freak out," the wildest moments were showcased, it was meant to draw attention from those who were into the wilder aspects of the new sounds, and. . . well it worked for me. Between this and Filles and Bitches I became hooked and explored Miles with a real passion, which led me to so many other jazz artists and their work. I don't feel they sound "tamer" in their complete form, but they do make more "sense" and are less jarring and in that sense less thought-provoking, reaction-inducing. I've listened to all this material I can in official and unofficial form over the years so it's hard for me to be really hearing it with new ears, so I may be not experiencing it in the same way. I'm so happy this is finally released.

Yes, I have an Agile Les Paul copy that has a fretless board, I run .10s and I really like it. It's a surprisingly well-crafted guitar for the price and a pretty silverburst. I need to put it into rotation again. So many guitars, so little time!

Thanks Pete!

Nice looking fretboard! Yeah, fretless rules. I have a Fender American Deluxe Jazz fretless that just is an amazing instrument, and a Wishbass which is a wild one, makes you work but it's rewarding too.

Pete, sent you a PM for possibly getting them all.

You know, even when these came out on Fresh Sounds on cd early on in the digital age, the claim was that these were recorded at the club. Seems/sounds possible to me.

Hey Tom, previous discussions here. I haven't done any comparisons to previous release yet, but I like it.