Leeway

Getting a chance to live with the TT a while can be one problem. Also, it seems to me to that the cartridge plays a big-maybe crucial-- role in TT performance, and so, wouldn't it be quite possible that two people with the same TT but different cartidges, are going to report different sonic results? How does one factor into the equation the role and performance of the cartidge (which is, typically, an add-on from a different manufacturer?).

I'm happy with Org, and usually don't think much about the old BNBB, but when I do, I tend to see it the way Ed does. It wasn't the closing so much as the WAY it was done that still rankles. Now, despite the fact that this board has some of the most loyal BN fans anywhere, Evered chooses to post over at AAJ, where the attitude towards BN is considerably cooler. It's as if Evered is still intent on showing his disregard, if not contempt. Frankly, that sucks. It's not unreasonable in response to say, "I'm not going to support that company the way I used to." I admit that I still do buy those BNs that matter to me. I buy because I like the artists making the albums, that simple. Evered is not BN, although he might think he is. One hopes that some day, Evered moves on, and BN continues to produce great jazz.

Wolf, why is that? What do you especially like about these TTs? I'm also interested, nore generally, in how one compares the audio quality of TTs. What do you look for when buying a TT?

Michel, I hear what you're saying, but I got the impression that the very youghtfulness and earnestness of the interviewer actually resulted in Rudy being more forthcoming that he might otherwise have been. It seemed to me that Rudy took a liking to the interviewer, and overlooked the interviewer's deficiencies (such as when the interviewer tried to described the advances in microphone design). In the end, the interviewer managed to cover a lot of ground, more than I've seen in most interviews with RVG (and I don't think there have been all that many). I found it very informative. What struck me in reading Rudy's remarks are his masterful knowledge of the field (OK, no suprise there), and his surprising humor. I also liked the fact that he is continually looking forward and engaged in the developments in his field. Jim, you get a big THANKS for putting this on the Board

Someone I haven't listened to in quite a while, plucked this off the shelf, thought the title was apropos, as I've been doing a fair amount of "looking back" myself lately: London PS-562. I've always had mixed feelings about Mayall as a bluesman, but his sincerity and love of the form is apparent. Plus he had many of the best British musicians; it's great to hear the fiery young Eric Clapton, among such others as Jack Bruce, John McVie, et al.

Every Bob Thiele session I could find in my collection (about 50 - up to 1966) was recorded by Rudy, except the Mingus sessions which were recorded by Bob Simpson. I wonder why Thiele and/or Mingus didn't want to use RVG for those...? Thanks Z-Man. I guess I've not been paying attention to the recording credits-- either that or I'm having brain vapor lock . Maybe Rudy didn't want to deal with Mingus rather than the other way around. That combination might have been too combustible.

I forgot to mention that the recording engineer on this gig was Rudy Van Gelder, which kinda suprised me. (Bob Thiele produced). I know Rudy did work (and still does) for a lot of labels, but I don't really associate him with Impulse, especially its "New Thing" artists. Did RVG do a lot of work for Impulse and/or Thiele?

Beautiful

McCoy Tyner - "Song for My Lady"- Milestone MSP 9044 . A lot of interesting music here. Some good musicians working with Tyner: Sonny Fortune, Charles Tolliver, Alphonse Mouzon. Michael White on violin on 2 cuts, adding an interesting soundscape to the album. Certainly the spirit of Coltrane presides over this album, and Tyner has successfully translated Coltrane's musical language into the idiom of the piano. "A Silent Tear" has the intensity of a Beethoven sonata. Shouldn't Milestone put out a box set of Tyner's albums, in nice 24 bit?

"Resistance is futile, you will be assimilated" (Quote: The Borg) Might I recommend the Rega P3. I have one. Relatively reasonably priced, and sounds quite fine.

Yes, that name does sound familiar. Despite the fact that I've listened to Dylan for decades, I've never read any detailed bio of him. It seems as if I know him through the songs. As for the street, I would think it's in the East Village but can't quite make it out. I went to college at NYU, Washington Square, so have wandered those same slushy, snowy streets many times. P.S.: I wonder how these original mono issues, or even the stereo issues of this vintage, compare with the new hybrid SACDs?

Loathe as I am to get back into this mess, I will reply to B3-er's direct question, and only because it is the Lord of the Board. In a word: "NO" I acknowledge that you didn't take this issue public, Leeway; and I also acknowledge that you don't have to answer B-3er's question if you don't want to; but it would be nice to know if you do get the cds eventually. It would help all of us who do order cds from Canadian boardmembers. The idea is not to stir up this issue all over again. I do recognize it as a "dead" issue at this point. Just for information purposes it would be nice to know... I've been thinking that if the CDs ever do show up, offering them for sale here at Org with the proviso that, rather than pay me, the buyer would make a contribution to the Board through the "Donate" link. Upon B3-ers confirmation of the donation the CDs would be sent. I should say, of course, that UA would get back his money as well. But at this point, I have not received the CDs.

Loathe as I am to get back into this mess, I will reply to B3-er's direct question, and only because it is the Lord of the Board. In a word: "NO"

One of Dylan's greatest albums, and one of the greatest albums of the 60s. It's importance in shaping the consciousness of a generation can't be overestimated. In a strange reflux of history, the album seems as immediately relevant today as it did in 1963. There are many great songs here, but I've always liked one of the lesser known works, "Bob Dylan's Dream"-- give it a listen. An angry, funny, beautiful, album. Dylan's coming out with an autobiography, it seems he is intent on smashing the icon of his own importance. Remember: "Trust the art, not the artist." Columbia CL 1986- Mono. BTW, does anyone know who the pretty youg woman is holding onto Bob's arm? And, a la Brownie, does anyone know which street appears in the photo? It's almost certainly downtown Manhattan, but where? Then, from the same 60s zeitgest, the same powerful culture movement that, alas, spent itself by the mid-70s: Aside from Shepp, some great avant-garde musicians on this one: Marion Brown, Ted Cuson, Reggie Johsnon, Joe Chambers, David Izenzon, J. C. Moses. Impulse AS-86. From the "Warner Collectors Society" issue, Direct Metal Master-- it nevertheless sounds quite good. It also has a slightly different cover picture than the one shown above. Instead of the inset picture of Shepp on sax, it is a shoulder-length portrait of Shepp in profile. The Dylan and Shepp albums have something in common-- they both have liner notes by Nat Hentoff-- he must have writen many thousand of them (most are pretty good within the constraints of the literary form). P.S. Thanks Chuck for the historical note-- that's what I like about Org, you can always learn something! .

Richard Davis' bowed bass on "Wailing Wall," is haunting. Roy Haynes does some marvelous drumming. Blue and black Blue Note Liberty/UA reissue, with excellent sound.

Still in that hard rock/"out" jazz mode. More high-energy, transgressive vibe: Hard to find a good vinyl copy of this one, since the kids who originally bought this, usually played the hell out of them. "War Pigs" on Side One is still much too relevant. Then: [Had to use the CD cover]. 2 LPs, Impulse 9202.

"Pretty" is good; "pretty" and "intelligent" is even better.

From the Washington Post, October 3, 2004, Obituary, a jazz fan's obituary. Perhaps someone here knew him?

Thanks Drew. You know, I played the Shepp after the Jefferson Airplane, and although the music is different, i felt that same kind of "vibe," that desire to kick away the restraints and make a peronal statement.

Can't help you with the technical questions, but you might try the "Vintage" forum over at www.audioasylum.com Audio Asylum Vintage Gear But it's a nice coincidence that you mentioned trying to recreate your old system. Today, I picked up a pair of AR-2ax speakers, $1.00 for the pair, and I was thinking of doing the same, but thinking I needed to get a vintage receiver for the right sound. Your Pioneer would do nicely ! I have a lot of vinyl and was thinking I needed an old acoustic suspension speaker to get that "vinyly" sound that I grew up with. I'll have to scout around for a good receiver.

"Out" but probably not nearly as "out" as it seemed when recorded.

"WORST OF THE JEFFERSON AIRPLANE" - RCA It felt good to hear some kick-ass, Sixties, sex-drugs-protest, psychedlic, take-it-to-the-street, ROCK 'N ROLL JA music from 1966-1969. Marty Balin, Grace Slick, Jorma Kaukonen, Paul Kantner- a great band at its height.

Thanks for the site. Some drool-inducing vinyl gear

Doesn't the Funny Rat thread serve that purpose already?

I have a mild prejudice against albums that consists of sessions widely dispersed in time, and with different personnel. You can't really call it an album; it lacks the coherence and consistency of a unified effort. That said, "Jackie's Bag" is a pretty good Mclean album. The first three pieces (I have the JRVG, so arrangement may differ), with Donals Byrd, Sonny Clark, Paul Chambers, and Philly Joe Jones is enjoyable. Clark comes into his own on "Fidel." Mclean is always good in a blues number, as he is here in "Blues Inn." I felt Byrd was playing more to show off his chops than to make himself a part of the group. "Jackie's Bag" really comes into its own with the next session, with Blue Mitchell, Tina Brooks, Kenny Drew, Paul Chambers and Art Taylor. I prefer Mitchelll to Byrd. Tina adds a great feeling to the session, but it's still clearly Jackie's session. The songs themselves, as well as the playing, seem to me superior to the first sesion. "Appointment in Ghana," and "Isle of Java," particularly stand out for me, but it's all good-- really good. This session has a really compelling quality.