mjzee

Recently, Mr. Dozier, arranger Paul Riser and original Four Tops member Abdul "Duke" Fakir reflected on the group's biggest hit, Bob Dylan's influence and why the group was surprised the song became a smash hit. More here: http://online.wsj.com/article/SB10001424127887323735604578438801075134708.html

HDTracks offers 4 digital formats: aiff, alac, flac, wav. Is any one superior to the others?

Hard to fault the majors when, to take one example, you can get 8 Three Sounds albums for $11. There's no way a legit company could compete with that.

Thanks for the great perspective as always, TMG.

Amazon has it as being released on April 30.

Thanks, michel and Daniel. I do think the distinctions made in this particular series are driven by something in EMI's data system, and not by anything actually affecting the music (in other words, there is no actual distinction in the music labeled as "remasters" vs "digital remasters"; they weren't remastered on different dates or in different ways). It is good to talk about the topic of mastering from time to time. etherbored, yes, the package I have is copyright 2011 EMI Music France.

Captain Beefheart Live 1968 - Dusty Groove

I really liked "Breakout" on CTI. Prestige put out a ton of twofers. Any that folk here really like? I have The Soulful Blues, and it didn't knock me out on first listen. But Breakout reveals a tuneful player with a lot of drive.

He had a very unusual way of playing the guitar, pressing his thumb across all 6 strings.

RIP, Richie. Another great New York City musician gone.

Pay attention to how long it takes for the disc to actually begin playing. I bought a Panasonic blu-ray a few years ago, and it seems to take forever to get to the menu.

Can we create a compilation of Lee Morgan tracks not appearing on his own albums? Prompted by listening to Joe Henderson's Mode For Joe, and hearing Lee's composition Free Wheelin'.

Cool!

Actually, I thought my post #2 said it all, but it seems some people couldn't be bothered to find out what Hanlon's Razor is. Hanlon's Razor states "Never attribute to malice that which is adequately explained by stupidity." Paraphrasing it for this example - Don't attribute some kind of super intelligence to EMI for their notations on these CDs, it is much more likely to just be a cockup on their part. Actually, I did look it up, and didn't find it to be a helpful answer to my question.

I found copies of the CD back covers for 3 of the 4 titles. For "In 'N Out," it appears they used the 1987 remaster and mistakenly added Rudy's name. As for the "remasters" vs. "digital remasters" distinction (which seems to be preoccupying only me), I see an interesting pattern: the "remasters" notation is on the title tracks only for "Our Thing" and "Mode For Joe," and for "Page One" (which doesn't have a title track) only on the first title. This leads me to think that this data came from EMI's database, and was probably originally used for some promotional purpose (maybe in a printed catalog). The other tracks were given a lengthier description, adding the word "digital." But the entire albums each came from the same remastering session. I guess that explanation satisfies me.

I had an odd encounter with Richard Davis once. I was working in a jazz record store circa 1978. We had gotten in a bunch of Denon imports from Japan (these were considered audiophile pressings, as well as being titles not available in the U.S.). I was working the cash register. A man comes over holding one of the Denon releases. He introduced himself as Richard Davis and asked me "where did you get these? Because this company doesn't have the rights to sell them in this country." If it wasn't a Richard Davis-led session, then it was one he played on. What could I say? I felt for the guy, but had no knowledge of the buying side of the business. I hemmed and hawed and basically said, look, I only work the cash register. Eventually he walked out; I don't think he bought the record.

Post #3 didn't answer anything for me. Maybe I just don't understand what was meant by it, and a lengthier explanation would be helpful. If "all BN remasters were done in the digital domain," then why the distinction between "remaster" and "digital remaster"? It took some effort on EMI's part to note that on the CD covers, esp. when they didn't note personnel. If anyone has a knowledge of this, that would be great. If it's just speculation, well, anyone can speculate, right?

Up. Does anyone know? It seems they went through a lot of trouble to make the distinction between "digital remaster" and "remaster," especially if the same guy did them in the same year, which might mean at the same time.

I bought the 4 CD Joe Henderson cheapo box as seen below. Legit, but really bare-bones: thin cardboard sleeves, no liner notes, no personnel; just track names and writer credits. But they do make a distinction between "remaster" and "digital remaster." Here's an example: for the album Page One, the track Blue Bossa is labeled "Rudy Van Gelder Edition - 1999 Remaster." The other 5 tracks on the album are labeled "Rudy Van Gelder Edition - 1999 Digital Remaster." What's the difference? And why would one track be done differently than the others?

Thanks again.

Much thanks, Brownie. I guess the recording locations are unknown.

Does anyone have discographical info on this album? TIA. Track Listings 1. Tea For Two 2. Poor Butterfly 3. I've Got A Right To Sing The Blues 4. Tabu 5. Ain't Misbehavin 6. Royal Garden Blues 7. I Got Rhythm 8. Hallalujah 9. Hallalujah 10. Poor Butterfly 11. Song Of The Vagabonds 12. Lover 13. Memories Of You 14. Running Wild 15. Yesterdays 16. Kerry Dance 17. Crystal Clear 18. Gang O'notes 19. Between Midnight And Dawn 20. Apollo Boogie

From the Mosaic page: Original release: Issued as Impulse AS-9211, August 1971 Produced by Ed Michel and Alice Coltrane Their sequence and choices: Side A Sun Ship 6:14 Take 4, as shown above, with Elvin Jones’s drum coda edited out. Dearly Beloved 6:28 Take 4, as shown above, with the discussion from Take 1 added as an introduction. Amen 8:17 Take 2, as shown above. Side B Attaining 11:27 The first 7:24 minutes of Take 3, followed by the last 3:58 minutes of Insert 1. Ascent 12:05 The issued version is Take 1 as shown above, with about 1:30 of the bass solo edited out

See: Mosaic Records. This page has a comparison of this release to the original.