Claude

From the booklet: PRESTIGE 2503 Caribe (reissue of NJ-825i) 2517 Dash One 7206 Trane Whistle (same as 7834) 7294 Eric Dolphy at the Five Spot, vol. 2 (same as 7826) 7304 Eric Dolphy in Europe, vol. 1 7311 Outward Bound (reissue of NJ-8236) 7334 Memorial Album 7350 Eric Dolphy in Europe, vol. 2 7366 Eric Dolphy in Europe, vol. 3 7382 Here and There 7579 The Quest (reissue of NJ-82&9) 7611 Eric Dolphy at the Five Spot, vol. 1 (reissue of NJ-826o) 7652 Out There (reissue of NJ-8252) 7747 Far Cry (reissue of NJ-827O) 7826 Eric Dolphy at the Five Spot, vol. 2 (reissue of 7294) 7834 Trane Whistle (reissue of 7206) 7843 Where? (reissue of NJ-82&5) NEW JAZZ 8236 Outward Bound (same as Prestige 7311) 8243 Screamin' the Blues (same as NJ-8324) 8247 Looking Ahead 8251 Caribe 8252 Out There (same as Prestige 7652) 8255 Straight Ahead 8260 Eric Dolphy at the Five Spot, vol. 1 (same as Prestige 7611) 8265 Where? (same as Prestige 7843) 8269 The Quest (same as Prestige 7579) 8270 Far Cry (same as Prestige 7747) 8324 Screamin' the Blues (reissue of NJ-8243) Another essential album you will need is George Russell "Ezzthetics" (on Riverside)

It´s the wellknown (and cheap) Freddie Hubbard Black Lion disc: http://www.allmusic.com/cg/amg.dll?p=amg&u...l=Awya9qjmyoj0a

It´s the hottest summer in western Europe too, for the past 50 years or so. And no rain in sight.

I've read on the old BNBB board that the sound of the new CDs is improved over the Mosaic set. There are also some tracks that have been discovered after the Mosaic box came out. I only have the new CDs. Obviously mid-1950's live recordings were not great, but the new remastering seem to make the best of them. The first concert sounds rather muffled (like AM radio) but the following are very well balanced, with all the bass notes clearly audible. The piano sounds rather cheap and out of tune, as on a lot of live recordings from that time. All in all, I find those CDs as enjoyable as Chet's Pacific Jazz studio recordings.

$5 shipping cost within the US http://www.bluenote.com/shipping.html

Here is the Teagarden discography: http://www.mosaicrecords.com/Discography.a...?SelectionID=23 I've posted the links to other "hidden" Mosaic discographies on the AAJ board: http://forums.allaboutjazz.com/showthread....s=&threadid=457

Welcome back, Hans

I prefer David Sylvian's solo works to the more lightweight Japan sessions. Especially his three first albums are very well thought out, almost concept albums. They are some of the very few pop albums I still listen too.

Stalker is great on DVD, it comes with a few extras such as an early Tarkovsky student movie and a documentary on his home. The movie itself is in Russian, with english subtitles. It's expensive though ($45). I got the Region 2 version with the same features a lot cheaper, on amazon.co.uk http://www.amazon.com/exec/obidos/tg/detai...?v=glance&s=dvd I prefer Stalker to Solaris.

How often did you have to change tubes? I thought your tube amp was rather recent.

Most french radio journalists I heard (those who know the jazz scene) call him Djuckie, which is the french way to read the "a". Maybe to emphasize his french origins.

His first name is pronounced "Jucky" in France

Couw, it works much more subtle than that. Have you seen the announcement on the german page? It's for Mathias Bröckers' book "Conspiracies and the secrets behind 9/11" B)

I like these early Ayler sessions a lot. They are imperfect, but the opposition between the straightforward rhythm section and Ayler's free blowing creates a very interesting tension. It reminds me of the Cecil Taylor Candid sessions, which have a similar contrast. Recommended for everyone interested in Ayler's playing, and not just for completists.

High-Rez Reality By Tony Faulkner, August 4, 2003 http://www.stereophile.com/soapbox.shtml http://www.auracle.com/greenroom/ I am sick unto death of all the hype, spin, and advertorial about SACD and DVD-Audio in the audiophile press. It is time someone published balancing commentary to offset the endless propaganda from lackeys telling us that SACD and DVD-Audio are runaway successes, when they are not, and are unlikely ever to be so—which ought to be as obvious as the nose on Tony Blair's face (getting longer each day). As far as high-density digital audio is concerned, no one could fairly accuse me of not having put my money where my mouth is. My company is still one of very few to have bought its own DSD recording equipment (dCS converters, Genex, and racks of SCSI drives), and we have done many 176kHz and 88kHz high-speed PCM recordings. Sadly, in the fullness of time I have learnt that SACD and DVD-Audio as manifest, in listeners' homes, are fundamentally just glorified compact discs "with knobs on," driven by a lot of expectation and [hoo-hah]. If you ask a true, dedicated audiophile about his favorite sound, chances are it will still be vinyl LP. It's like asking a Harley motorcycle owner if he would prefer a Lexus or Ford automobile—he may own a car (as an audiophile probably does a CD player), but the bike will be his true love. SACD and DVD-Audio were certainly originally conceived as bringers of sound quality superior to that of CD, but such a pure concept was highjacked a long time ago by the corporate strategists, for the most part. The cheaper players I have heard are no great shakes with the high-density discs, and I still prefer my Wadia CD transport plus Stax DAC on a good CD. The high-density players offer CD replay compatibility, but more often than not of a quality not worthy of the price point. Let's face it, unless you must have surround, I do not believe that SACD and DVD-Audio—as currently offered—deliver the goods, except in very rare combinations of player, disc, and system. From a record company point of view, we have another set of problems, which I believe will act as a barrier to any big development of SACD and/or DVD-Audio because there will be an ongoing shortage of viable top-quality new recordings. External dollops of cash from corporate funds have primed the pump, but one must wonder what will happen when the funds dry up, which they will have to sooner or later. The high-density digital formats require eccentric studio gear, eccentric editing/mastering, and eccentric pressing facilities. If you are a label retailing CDs at middle or budget price, how do you price the hybrid pressings? Do you do two pressing runs to allow for big-selling CD market requirements? Who pays for the high-density layer which does not get played? How many traditional conservative CD music buyers could give a monkey's about higher resolution, especially if it puts the price up? If you read the small print on the back of some SACDs, you will find out they were 44.1kHz, 48kHz PCM, or, if you are lucky, analog originals, not squeaky clean DSD. The list even includes one of my recordings that Naxos issued on SACD (Japanese Orchestral Favourites recorded 44.1kHz PCM in Tokyo). The SACD catalogue is growing, it is true, but there is too little of real musical and/or technical value to turn many audiophiles' heads, let alone Joe Sixpack's head—nor mine, for that matter. Let us all get back to business, please, and stop wasting energy suspending disbelief. CD is here for the time being as the mass carrier, and we know we can make it sound pretty decent if we take enough trouble. Vinyl LP is alive and kicking, and the proven preference for many audiophiles. I have just bought some Studer analog tape machines and shall be running them in parallel on our projects from September onwards, hopefully so we can release a handful of LPs next year.

I agree with Ed's and brownie's comments. The 70's were not a lost decade, especially when compared with the 90's. It was a good decade for avantgarde and electric/fusion, but not for mainstream jazz. New styles were created, some of which stood the test of time. I'm not into Weather Report (except the early stuff), Return to Forever or Mahavishnu Orchstra, but I like Miles's electric period a lot. This music is now - after more than 20 years - finally recognized by most critics. Apart from the avantgarde artists already mentioned (Braxton, AECO), many other artists and labels which became important in the 80's (David Murray, the Black Saint label) started at the end of the 70's. In my view, what will really be considered irrelevant in jazz history is the hardbop revival that followed the "electric/jazz-rock aberrations". I'm sure that Weather Report or Mahavishnu albums will still be reissued in the coming decades, but Wynton's and the many other "young lions"'s recorded music will be forgotten soon. Which does not mean that it is not enjoyable. But it is not important in the history of the development of jazz.

The last three of the albums vibes has recommended are also avaialble seperately. A few sessions in the box contain many alternate takes. Here is a complete track list on some photos of the set: http://www.kind-of-blue.de/seiten/boxen/bi...s_verve_box.htm

Almost all of the sets sold by "dalpup" got very high bids, amongst the highest I have recorded in the last year (since I started buying Mosaic sets myself)

I have noted the end price of the last dozen auctions of this set - prices were between $180 and $250. Better wait for the next one.

Greg, you say the differences between SACD and CD can be significant. I don't disagree. When I wrote that the difference can't be that spectacular, I was referring to these statements by mgraham333: No, this is not an improvement that you get from high resolution alone. It sounds more like a comparision with a badly remastered CD or between stereo and multichannel. That's why I'm asking what Matt compared the SACDs to. BTW: I bought a second SACD player today. OK, I will use the Philips DVD 963 mainly for it's DVD capabilities, but it plays SACDs too. Isn't that optimistic?

I like the Wayne Shorter VeeJay albums as much as his Blue Note recordings. Very good compositions and solos by Wayne, accompanied by a straightforward rhythm section. "Second genesis" and "Wayning moments" are essential in the Wayne Shorter discography. I have not heard the Lee Morgan stuff. The problem with the Mosaic set is that almost half of the tracks are alternate takes. As I was mainly interested in the Wayne Shorter recordings I bought the VeeJay albums reissued on seperate CDs (partly with alternates) from Blue Moon Spain (9 Euro per CD):. http://www.freshsoundrecords.com/catalogue...bel&label_id=11 The legal status of those CDs is not clear, but the sound is very good. Maybe not as good as the Mosaic box and japanese reissues of the albums, but for the price it is excellent. A few of the individual albums are also availailable on Collectables. I have bad experience with their reissues of Atlantic material (heavy use of nonoise processes, some are unlistenable), but I have not heard the VeeJay reissues. http://www.oldies.com/artist/view.cfm/id/3496.html http://www.oldies.com/artist/view.cfm/id/696.html

Matt, what did you compare the KoB SACD to? The first CD release (horrible sound) or the late 90's remastered version? The latter sounds very close to the SACD, the main difference being that the saxes are more forward in the mix. The difference between CD and SACD are never that spectacular, when they have a similar remastering.

Mahler´s Ninth Symphony Some recordings fit on one CD (Barbirolli 1964)

The two alternate tracks of "Blue Train" have been avaialble since the "Ultimate Blue Train" reissue in 1995.

It is understandable that they want to avoid people who join for the minimum possible perod of time (3 months, for $45 total cost) and then download as much as they can during that time. I did that before they changed the rules (about 2000 albums in 3 months). Although there was no limitation, I expected them to sent me a warning, suspend my account or do something else, but nothing happened. I spent about half an hour per day searching and selecting the albums I wanted and just put them in my download manager (not the emusic software). My computer was downloading day and night. Having the complete OJC catalog available was addictive. I stopped my subscription because I knew I would not be able to listen to all the albums I had accumulated. So I paid about 2 cents per album, whereas other commercial download sites charge 99 cents per song! I don't know how emusic's licensing contracts work, but it's clear they can't make money with customers like me. So it's inevitable they had to do something to avoid a situation comparable to a an "All you can eat" restaurant where people would come with bags to fill their refrigerators. But even with the current limitations emussic is still very attractive, especially for jazz fans.