mjzee

Anyone notice this? Says it's on the "Premium Cool" label. Is it a ripoff or a successor to Uptown? https://recordstoreday.com/SpecialRelease/12404?fbclid=IwAR0KgC6F2jqXMO8OBgTr9beJqgjhxE0SWAZs6FBN53onM-ZZTsC30HMTcfM

The Wall Street Journal has reported that Julian Bream has died. Their notice began: It’s a safe bet that Julian Bream, who died on Friday at 87, would be remembered if he’d never done anything but play guitar. After Andrés Segovia, he was the best-known classical guitarist of the 20th century, a player of limitless sensitivity who could hold an audience spellbound simply by plucking a few quiet notes on his unamplified instrument—but who also tossed off more technically demanding pieces with the panache of an old-time barnstorming virtuoso. Yet Mr. Bream did much more than merely play guitar. He doubled on the lute, the guitar’s ancestor, and was responsible in large part for the postwar revival of interest in that long-forgotten instrument. He led his own ensemble, the Julian Bream Consort, one of the first period-instrument groups, and appeared frequently in recital with the tenor Peter Pears, a professional relationship that was immensely valuable to him. “I learnt a lot from Peter about phrasing like a singer, which is what we all try to do on instruments,” he told an interviewer in 2007. Most important of all, Mr. Bream commissioned and gave the premieres of solo pieces and concertos for guitar by many of the leading composers of his time, among them Malcolm Arnold, Lennox Berkeley, Hans Werner Henze, Toru Takemitsu, Michael Tippett and William Walton. Unlike Segovia, who disliked all but the most conservative 20th-century music, Mr. Bream did more than anyone else to modernize his instrument’s dusty repertoire. Above all, he persuaded Benjamin Britten, Pears’ partner, to try his hand at writing for the guitar, and the result was the 18-minute-long “Nocturnal After John Dowland” (1963), the first large-scale masterpiece for solo guitar and a piece that Mr. Bream performed so superlatively well that his first recording of it, made in 1966, remains to this day the benchmark for all other guitarists.

Maybe contact the George Wein organization?

That is so weird. A similar article by John Edward Hasse appeared in WSJ yesterday: https://www.wsj.com/articles/crazy-blues-transformed-american-music-11597174053

I recently bought the James Moody 4-CD set on Enlightenment, all Argo material. Disc 3 (Cookin' The Blues/Another Bag) had bad rumble. So I checked Amazon mp3, and they had At The Jazz Workshop (which is Cookin' The Blues with additional tracks from the same engagement) and Another Bag, so I downloaded those to replace the defective disc 3. I like these Enlightenment sets when they provide music not otherwise easily available.

I downloaded both of these from eMusic, back in the day (they're no longer available there). These sound like needle drops, probably supplied by Schlitten, but I do have them.

Covers designed by Mayo Bucher. Here's a short documentary where he discusses working with ECM: https://vimeo.com/435300978?fbclid=IwAR2p593N8KsT92m6vm2QnHTFzZqUnB6lJonGHbt0nPq5Y21q1hwfD5R-xLA

Maybe Eicher simply owns the paintings. Zappa did that a lot:

Hmmm... I'm glad the ECM "sound" and esthetic is around, as a choice among many. The above album covers are, I think, good examples of what might appeal to some but not others. Some will be drawn in by the paintings, but others would much prefer a more in-your-face Reid Miles cover. 10 ECMs that I like: John Abercrombie - Tactics Keith Jarrett - Koln Concert, Sleeper, Nude Ants Steve Reich - Music for 18 Musicians Art Ensemble of Chicago - Urban Bushmen Ralph Towner - Solo Concert Jan Garbarek + Hilliard Ensemble - Officium The Paul Bley Quartet Gary Burton - Passengers

Thanks all for the recommendations.

No, it's an LP.

For those of you who get Tommy's Jazz Offer emails, are there any on the list of "Best Voices Time Forgot" that you'd recommend? FSRV_101 Wanda Stafford & Patricia Scot In Love for the Very First Time + Once Around the Clock FSRV_102 Marcy Lutes & Patty McGovern Debut + Wednesday's Child FSRV_103 Dori Howard & Janet Brace Dori Howard Sings + Special Delivery FSRV_104 Thelma Gracen & Milli vernon Thelma Gracen + Introducing Milli Vernon FSRV_105 Peggy King & Pam Garner Lazy Afternoon + Sings Ballads For Broken Hearts FSRV_106 Beverly Kelly & Dolores Hawkins Beverly Kelly Sings + Dolores FSRV_107 Jane Harvey & Anne Richards Leave it to Jane! + Born to be Blue FSRV_108 India Adams & Easy Williams Comfort Me With Apples + Easy Does It! FSRV_109 Norene Tate & Mae Barnes Tenderly + Mae Barnes FSRV_110 Jennie Smith & Diana Trask Love Among the Young + Diana Trask FSRV_111 Martha Hayes & Ilene Woods A Hayes Named Martha + It’s Late FSRV_112 Gloria Smyth & Helyne Stewart Like Soul! + Love Moods FSRV_113 Honi Gordon & Sue Childs Honi Gordon Sings + Introducing Sue Childs FSRV_114 Pat Thomas & Barbara Long Jazz Patters + Soul FSRV_115 Juanita Cruse & Jeri Jorden Juanita! + Easy Living FSRV_116 Marlene & Pat O'Day With Every Breath I Take + When Your Lover Has Gone FSRV_117 Corky Shayne & Georgia Carr In the Mood for a Song? + Songs by a Moody Miss FSRV_118 Janet Blair & Claudia Thompson Flame Out! + Goodbye to Love FSRV_119 Crystal Joy & Althea Gibson The Fabulous Crystal Joy + Althea Gibson Sings FSRV_120 Rose Hardaway & Ada Lee It’s Time for Rose Hardaway + Ada Lee Comes On! FSRV_121 Cathi Hayes & Lu Ann Simms It's All Right with Me + At Separate Tables FSRV_122 Renée Raff & Pat Dahl Among the Stars + We Dig Pat Dahl FSRV_123 Carole Simpson & Connie Haines Singin' and Swingin' + A Tribute to Helen Morgan FSRV_124 Shelley Moore & Ann Williams For the First Time... + First Time Out FSRV_125 Lynn Taylor & Marjorie Lee I See Your Face Before Me + Remembering FSRV_201 Frank D'Rone Frank D'Rone Sings + After the Ball FSRV_202 Rocky Cole & Deno Kannes Smooth & Rocky + The Kid from Salt Lake City FSRV_203 Marty Bell & Don Heller The Voice of Marty Bell + Blame It on My Youth FSRV_204 Dick Williams & Larry Hovis Love is Nothin' But Blues + My Heart Belongs to Only You

I recently picked this up; recorded in 1989. Was pleasantly surprised to see him do a version of Midnight Blue!

The 1978 reissue Star Eyes goes for reasonable prices; I picked one up from DG not too long ago. It has 5 tracks (the 5th, not on the original Jazz Eyes, is Darn That Dream).

Received today, in good condition. Thanks, Allen; can't wait to hear it.

Happy birthday, Mr. Burrell!

Way too long.

But there have been other live recordings from Monk's Columbia time released on different labels. For example, this on Thelonious/Hyena (Joel Dorn): Or this, on Concord: Or this, on Blue Note:

I don't know that Sony is the problem. If Monk owed them a record, how was Black Lion able to release the London session? I just checked my two Giants of Jazz albums; neither say "Monk appears with kind permission of Columbia Records."

Back when I was in high school (late '60's - early '70's), I would regularly read Stereo Review. I got a good grounding, for the time, on the basics of putting together a stereo system. I so miss that sort of source today. I recently subscribed to Stereophile, but find that their reviews of insanely-priced equipment verges on audio porn. I so wish there was a middle-class, middle-of-the-road source for audio information. Larry's Schiit Magni 3, for example, would never be covered in Stereophile. We need a source (publication, web site, whatever) that would cover: What options are currently out there? When would you use one versus another? What are the various ways you can use equipment? What are the different ways of putting together a great-sounding stereo? What are the innovations in stereo equipment? What verities have been supplanted by newer equipment? When is older equipment still good enough? That's what I'm looking for.

I don't know; that's why I'd like to know more, and in what other situations are they useful. I see some headphone amps have tubes or tube/transistor hybrids, so maybe one purpose is to get that warm tube sound.

No, he plugs the Schiit into his amp's "rec out" jacks (presumably to get a clean flat signal).

Do you use the headphone amp with your computer? I've seen these, and other headphone amps, listed on Amazon, and am trying to understand when they're useful. I have a headphone jack on my preamp, so wouldn't need it there.