Norm

Has anybody seen any films by Hong Kong director Wong Kar-wai? With the exception of Blueberry Nights, most of his movies are set in Hong Kong, including Chungking Express, Happy Together, Fallen Angels, 2046, As Tears Go, but my favorite of these is In the Mood for Love. Its set in Hong Kong in 1962 and the reason I bring up this and Wong's other films is the beauty of the song selection. Absolutely stunning. I've never purchased a soundtrack to a film before, but if I ever do this will be the one. Has anybody seen the film or heard any of the songs on the soundtrack? Several of the Latin songs are sung by Nat King Cole and really take one back. (Nat King Cole is a personal favorite of Wong's) 1.Yumeji, film score Yumeji's Theme Composed by Shigeru Umebayashi 2.Mo-Wan's dialogue (from the film In the Mood for Love) Composed by Spoken Word 3.In The Mood for Love, film score Angkor Wat Theme 1 Composed by Michael Galasso 4.In The Mood for Love, film score ITMFL 1 Composed by Michael Galasso 5.Aquellos ojos verdes (Green Eyes), bolero for voice Composed by Nilo Menendez with Nathaniel Adams Cole 6.Shuang Shuang Yan Composed by Min Yao, Han Zhang Wei 7.In The Mood for Love, film score ITMFL 2 Composed by Michael Galasso 8.Hua Yang De Nian Hua Composed by Ge Xin Chen with Xuan Zhou 9.Perhaps, Perhaps, Perhaps (Quizas, Quizas, Quizas) Composed by Osvaldo Farres with Nathaniel Adams Cole 10.Bengawan Solo Composed by Anonymous with Rebecca Pan 11. In The Mood for Love, film score ITMFL 3 Composed by Michael Galasso 12. Si Lang Tan Mu Composed by Unspecified 13. Shuang Ma Hui Composed by Unspecified 14. In The Mood for Love, film score Blue (Bonus Track) Composed by Michael Galasso 15. Hong Niang Hui Zhang Sheng Composed by Unspecified 16. Magic Is the Moonlight Composed by Maria Grever with Nathaniel Adams Cole 17. In The Mood for Love, film score Ankor Wat Theme 2 Composed by Michael Galasso 18. You Er Wan Wan Zhao Jiu Ahou Composed by Kuan Yan with Wai Ping Chiu 19. In The Mood for Love, film score Casanova's Flute (Bonus Track) Composed by Michael Galasso 20.Yumeji, film score Composed by Shigeru Umebayashi 21.In The Mood for Love, film score Angkor Wat Theme Finale Composed by Michael Galasso

I ordered Fearless Leader from the same source on Wed.. Hopefully they had more than 1 copy & mine will arrive soon. Yes, they definately do as they are still showing that they have units available on their Amazon Marketplace page. I imagine you'll get yours tomorrow, if not then definately on Monday. I live in L.A. so its a straight shot from NJ to LAX, which may explain why it came so quickly. BTW, the item arrived perfect except as someone else noted that the upc was slightly gouged. Man, as someone else mentioned in another thread there has got to be a place in hell for the individual who sits there gouging out the UPCs. Anyway, getting this box has saved me so much because I had planned to pick up Soultrane, Traneing IN, Lush Life, Black Pearls, Coltrane and others -- none of which I have or even have heard. Can't wait to dig in.

Just got the Fearless Leader set in the mail today -- I ordered on Wed. from Bargain Entertainment. That was quick! But I've only gotten up to disc 2 of Side Steps and have never heard any of the material on either of these sets with the exception of the Soul Junction album, so I'm about to head into early Coltrane overdose. Looks like it will be a fun weekend!

I think you phrased it perfectly. I picked up my first Wilco CD in fall 2002. I thought they were pretty decent and picked up (mostly burned copies) of their subsequent CDs until something hit this past spring, and it was as if someone flipped a switch and their stuff just started to sound fantastic to me -- even songs on albums that I thought were mediocre in the past came alive. I've never had such a long courtship period -- 6.5 years -- with a band with which I've fallen in love. Jeff Tweedy is certainly a unique singer/songwriter and there's a share of dissonance and caucophony in their tunes (as he says, they usually destroy their songs and then build them up again). So for me at least it took a long while to really "get it" And then, as RDK can attest, Wilco just takes it to the next level live. When they jumped out on stage to play the first tune, Wilco (The Song), it was like this huge ball of energy and you couldn't help but feel blown away. After that I had difficulty listening to anybody else (current rock) this summer. I'm hooked in an unbelievably good way. Anyway, here's a little clip of one of my favorites from the Wiltern shows this past June. Nels has a neat little guitar bit in it too. Wilco - You Are My Face at the Wiltern 6/22/09

You know I've had the same exact revelation once before. I don't own any of their pre-Rubber Soul Stuff except (now) the first disc of Past Masters but I've heard quite a bit. But I had that same revelation when listening to Vol. 2 of the Anthology Sets. Ticket to Ride just sort of jumps out at you. Then again, since then I was kind of blown away by something that I think came earlier or maybe the same time (someone can correct me if I'm wrong) -- their performance of Twist & Shout which I think was for the Queen (on one of the Anthology DVDs). They're still decked out in matching suits with ties, but there's a pretty palpable energy and rawness (much like on Ticket to Ride) that they bring to this performance that undermines the sort of strictly controlled get-up they have on stage. Of course, the visual component admittedly adds an important ingredient to the mix and most certainly effects my perception of what was going on.

I received my box yesterday too. The only session that I already had is Soul Junction so I can't really compare the sound quality to any previous releases. I'm glad to see that most are pleased with many of the sessions. I've only listened to disc 1. It sounded just fine to me until I got to track 9 (I think it was track 9...it was very late last night so I can't be sure) and the piano started to sound distorted. Again, I don't know how it sounded originally, it just struck me as a slight departure from earlier portions of the disc. +1 on the packaging. This being my first box in this series of three, I'm very impressed. I'll trust you guys on the factual errors -- but the quality of photographs from the various sessions and amount of data presented is truly impressive, especially for someone such as myself with no background in this phase of Coltrane's career. I also love the shot of Coltrane they used for the box itself. Now, I'm really looking forward to receiving Fearless Leader, assuming Concord/Prestige was consistent. Thanks to all for the recommendations. Mistake or not, I still can't get over the fact that this was 11.99. It feels like I stole it.

I come to Nels Cline through my appreciation of his guitar work in the band Wilco, never having heard his jazz stuff. But on Wilco's Live CD (Kicking Television) the very last song contains some really nice riffs from Cline which revealed another side to his playing. Otherwise, seeing this going on stage for Wilco you would never guess he was a jazz-oriented. He's full of all kinds of antics, looking for feedback and distortion, and tossing himself about in such a manner that he's given himself whiplash (see Ashes of American Flags DVD). But a thoroughly enjoyable performer nonetheless. I'm guess he must exude a different stage presence when playing more jazz-oriented stuff. http://jazztimes.com/articles/25093-nels-c...uitar-anti-hero

Yes. Comparing the CD layer of the RVG Blue Train SACD with the CD layer of the Analog Productions Blue Train SACD reveals that the RVG version has about 3.7 dB worth of digital limiting applied to make it sound louder. The AP version doesn't have any limiting. I think what RVG was trying to do is increase the sound of the drums and bass in the right channel relative to the piano and horns in the left channel, to do this he used limiting mainly on the right channel. Why he did this I have no idea. The major difference in sound is that the RVG SACD sounds very thin and lacks bass. These mastering choices for me means it has a very harsh sound. I have made a comparison of the CD layers of both discs here. Thanks for sharing your results. So, comparisons with old versions aside, I'm assuming you are fairly impressed with the mastering of the AP SACD (including CD layer) of Blue Train on its own (much like Bixie above). Would that be an accurate statement?....Just turn up the volume a bit, and you're good to go? I'd be purchasing those from this series for the CD layer as I don't have an SACD player so the mastering on the CD layer is all important.

Between FEARLESS LEADER and INTERPLAY, is there a clear winner or are both just really good (and basically equal in strength)? They are both really good and equal in strength, IMHO. Chances are if you get one, you'll end up wanting the other two. I admit I'm biased, though: Trane's Prestige period is my favorite of his, which is not a knock against Atlantic or Impulse; just what moves me on a grander scale. I realize I'm in a minority here. Thanks to you and Jazzbo for the feedback. Yes, I believe you're right -- I'll eventually probably get all three. I just placed an order for Fearless Leader, just to make sure that I like this stuff fully before moving forward. I do particularly enjoy the Atlantic stuff (especially Giant Steps)...well that and Trane playing with Miles especially on a record I brought up in another thread above -- '58 Miles Featuring Stella By Starlight. Anyway, it seems that the Fearless leader stuff is not too far off in terms of time period (roughly 57 - 58?). The titles Sidesteps and Fearless Leader convey a clear sense of what sort of dates are included in each box respectively. With regard to Interplay, are these dates where basically Trane shared the lead (i.e. John Coltrane & Kenny Burrell)? If not what is the basic organizing concept of the set?

I would definately add The Beatles (The White Album) to the stereo CDs you've picked up. I find it to be fantastic (more revealing than even Abbey Road) in its new re-issue version (though I don't have the mono box yet to compare, so maybe others can chime in, but from what I've read the stereo version of the White Album does offer some -- though not all -- advantages over the mono version, more detail in some areas even if a little less hard driving.

Between FEARLESS LEADER and INTERPLAY, is there a clear winner or are both just really good (and basically equal in strength)? I don't have any pre-Atlantic/Columbia (i.e. with Miles) Coltrane and I've yet to receive Sidesteps in the mail.

Its a bummer that now the RVG remaster of Tom Cat is OOP. I just heard the title-track off this album on the radio, and found it thoroughly enjoyable. It was just re-released in 2006. I wonder why they let it go OOP so fast?

By the way, how is the FEARLESS LEADER box? I too saw that there are a few Amazon sellers offering it for around this. Is it a pretty solid collection?

It's interesting that these were favorites of yours (and your friends?) when you were in high school, considering you were in high school from what... 1985-88? I mean, most high school kids are into what's current at the time, or at least fairly current, In my high school years (87-91), Led Zeppelin was also the big exception to that rule as well. It wasn't just the stoners who liked them, it seemed like all the older (i.e. seniors) kids loved them. They seemed as popular or moreso than any current band.... the frequency with which "Ramble On," "Stairwary to Heaven," "Going to California," "Fool in the Rain" could be heard in high school parking lot or quoted in the senior quote section of the yearbook you would think it was 1977 or something. In a very ironic twist, the "non-conformist" side of me wrote them off precisely because of their popularity and dug deeper into bands like Love & Rockets, Robyn Hitchcock & the Egyptians, and other quasi-underground stuff coming over from the U.K. at the time. It wasn't until 5 or 6 years later that I shed those unfortunate stereotypes and starting listening with my ears instead of through the prism of self-definition and really appreciated Zeppelin for what they were on a whole deeper level. No real point here, just that for those of who weren't around to experience the 60s and 70s firsthand, the path to discovering bands like the Beatles, Pink Floyd, Led Zeppelin, Bob Dylan, Jimi Hendrix and Creedence Clearwater Revival could be kind of a rocky one full of twists and turns. I can't comment on jazz, as I'm a total neo-phyte, but when it comes to rock I'm of the strong opinion that the very best stuff was produced between 1966 and 73 or so. Don't get me wrong, I've enjoyed several bands from the 90s up the present (and still do), but all of my very favorite stuff dates back to 40 years ago, and obviously its not due to nostalgia because I wasn't alive then.

A lot of the music that I love was created before I was born, but I did not hear it until I may have been in my 20s or 30s. I may not have heard until last week. So there is no nostalgia factor there. That's a good point. I just want to note that the situation you describe is precisely my relationship with the Beatles (and I have to assume that I am not alone). I was born in 1973 and first listened to them seriously in 1995. Perhaps I'm not the average age on the board (I haven't been here long), but I guess I wanted to make the point that maybe its difficult to generalize about the entire sector of those who are excited by the higher resolution of the Beatles re-issues.

If there are any Wilco (or Nels Cline) fans out there you may want to tune into A Prairie Home Companion on your local NPR station on Saturday as they are slated to perform. I was lucky enough to see Wilco perform at the Wiltern in L.A. in June and aside from Floyd this was no doubt the best show I've ever caught. Check it out today if you have any interest.

Just received this message from Amazon: "We now have delivery date(s) for the order you placed on September 17 2009: The Beatles "The Beatles Mono Box Set" Estimated arrival date: October 27 2009 - November 16 2009" Still a few more weeks but I'm not complaining. At least it will be coming some time.

Same here. Just got an e-mail that my order has shipped. Good news

Really? I don't see any upcoming Soul Station release on CD Pacific's site - that's the site I linked to. Here's the link to item page for the XRCD of Soulstation mastered by Alan Yoshida & co. available through Elusive Disc. It appears that only this and Sonny Clark Cool Struttin were supposed to come out in July as the first two XRCDs in this project, however, additional work on the artwork / packaging has apparently delayed their release a few times, until this month (though still not available yet). I found it when it browsing the long thread at the Hoffman forum referenced above. http://www.elusivedisc.com/prodinfo.asp?number=AWMXR0001

Some searching on Amazon shows that there is a Japanese DSD import of the Jazz at the Plaza session available, somewhere in the vicinity of $20-$25. Maybe a consideration. Then again, I've read elsewhere (in some comments left on Amazon) that Miles, Coltrane and Cannonball were recorded "off mic" that night as this wasn't supposed to serve as a live release. I'm not familiar enough with the effect of DSD mastering to guess whether it would make a difference in this kind of case. From Amazon (though I was under the impression this was not released until 1973, not 1958): Editorial Reviews Product Description Part of the 'Master Sound Jazz Series'. Japanese reissue of the classic Columbia album originally released in 1958. DSDmastering. Packaged in a limited edition miniature LP sleeve. 4 tracks. 2000 release.

Is this the cover of the re-issue which you mentioned having slightly better sound than the one I have (pictured above)? If so, its interesting that the track order is different. I don't own the Miles-Trane box set and don't plan to get it, so this could be a very affordable alternative. It looks like was re-issued under the Sony SBME Markets series in 2008 for cheap.

I'm just dabbling here and there with the MacDonald book for now, but one thing I'll say about this volume is that its got personality. I like that. I was reading over the section on the song "Revolution" tonight and after the author explains nicely John's first rejection and then acceptance (sort of) of active revolution, he ends the piece with the following statement in which I found a good bit of wit and humor: "Originally a troubled message about something vital, by 1987, as the soundtrack to a Nike ad, REVOLUTION had turned into a song about training shoes. Enough said." You know, I was 14 when that TV advertisement was broadcast regularly and in fact that was probably my earliest contact with the Beatles (I wouldn't start listening seriously for another 7 years). Since it was my first contact, I too have often wondered privately about the ramifications -- does this imply they became sellouts later on (assuming they sold the rights to Nike, though John was of course dead by then)? Does it cheapen the message and value of the song, making it almost ridiculous? I'd like to think not, but these kinds of questions have always nagged at me. MacDonald sort of lays it all out there, but his ending is kind of ambiguous. By declaring "enough said" does he mean, "well, this song merits no further consideration because it has been irreparably corrupted by a hyper-commercialist culture? Or is he making a stronger and more pointed criticism of the song itself and the Beatles creation of it? I can't quite figure it out...

Well, I've been unloading all of these questions that I've had bottled up for quite some time and I thought I'd see if any of y'all enjoy '58 Miles as much as me and if there might be a better edition than the one I have. This is one of the very first jazz CDs I purchased and remains to this day one of my very favorite Miles, eclipsed perhaps only by Kind of Blue. It doesn't seem to get nearly as much attention as most others in Miles' huge discography -- heck, the version I have is even OOP and thus I'm wondering if any newer sonically superior release has been issued. Audio CD (July 23, 1991) Original Release Date: May 26, 1958 Number of Discs: 1 Label: Sony 1. On Green Dolphin Street 9:50 2. Fran Dance 5:51 3. Stella By Starlight 4:44 4. Love For Sale 11:46 5. Straight, No Chaser 10:59 6. My Funny Valentine 10:13 7. Oleo 10:56 Earlier this year I picked up the Columbia / Legacy double-disc anniversary edition of KoB which has the first 4 tracks listed above on the second disc and they sound mighty fine, but man the last 3 tracks were recorded live at the Plaza and they just cook, at least "Straight, No Chaser" (might be my favorite version of that tune, Trane is magnificent on it) and are unfortunately not included in the KoB re-issue. And then on "My Funny Valentine," you can hear the clinking of ice in the glasses and the coughing of patrons at the club in the background. So, for someone who wasn't born until 1973 this really feels as close to what it would have been like to be at a club back in the day hearing the band...the snap-off at the start of "Straight, No Chaser" for instance. On time and then some... I picked up Miles at Newport 1958 hoping for a similar feel, but I didn't feel those performances were anywhere near as strong as the ones on this disc. Has anybody gotten their ears on a newer edition of this album with improved sound quality? I'd be more inclined to fork over a large sum for that than just about anything else.

Thanks for the explanation. It seems like both the Hoffman SACDs and the Yoshida XRCDs will be somethin' else (sorry). I see that the XRCDs are actually a bit more, about $30 a pop vs. what you can purchase the SACDs for at CD Pacific and a few other U.S. outlets ($21 or $22) but seems like it it would be worth trying at least one of each. And I may as well work toward replacing those 1999 U.S. RVGs...I'd been looking to replace my copy of Soul Station anyway, but only getting into this game last month, I wasn't able to find easily the definitive TOCJ and now I see, in the thread Hans linked, that the XRCD of SS is to be released in October. I don't have an SACD player, but when I upgraded my CD player and cables last spring I noticed that the 99 RVGs did begin to grate on me -- I guess this is what some people call listener fatigue. Its kind of amazing that both of these two projects -- as separate as they are -- are coming together at this point in time. Good news.

This question is for anyone who has heard any of the SACDs and have compared to them to say RVGs. Would you say that the SACDs were mastered at lower levels, and thus you just need to turn up the volume a few notches to reach the same level with the RVGs which seem pretty loud. I guess what I'm trying to get at is whether there is an inverse relationship between dynamic range on the one hand and "loudness" on the other. In other words, do you feel that if a CD sounds "loud" to you it has necessarily been compressed and lacks dynamic range? Just wondering if there is a direct correlation between these two characteristics?