soulpope

@jazzbo : thnx for your input !!

It was released on XRCD24 in January. Link The XRCD24 is probably the one to get and there's not much of a difference in price. thnx - was aware of the XRCD but distantly remembered there was a japanese CD release in 2009 (??) ......... just curious (even more now), what`s the economically most viable source reg XRCD`s for european buyers - even if using the most attractive amazon.uk plattform dealer`s pricing this comes up incl postage for euro 26 and via amazon.de euro 28...directly @amazo.de the price ist 38 (!!!) euro ....... Being in EU, by far the best way is via Importcds: approx $21 plus $3 shipping if you order lets say 4 discs. alexandros, thnx for your feedback And the link to importcds XRCDs by Audio Wave in question: http://www.importcds.com/Search/Results?type=200&lbl=Audio+Wave thnx again

It was released on XRCD24 in January. Link The XRCD24 is probably the one to get and there's not much of a difference in price. thnx - was aware of the XRCD but distantly remembered there was a japanese CD release in 2009 (??) ......... just curious (even more now), what`s the economically most viable source reg XRCD`s for european buyers - even if using the most attractive amazon.uk plattform dealer`s pricing this comes up incl postage for euro 26 and via amazon.de euro 28...directly @amazo.de the price ist 38 (!!!) euro ....... Being in EU, by far the best way is via Importcds: approx $21 plus $3 shipping if you order lets say 4 discs. ImportCDs' prices fluctuate daily, so it's best to put the XRCDs and SACDs on your wish list and look for the lowest price point which is around $20-21 for XRCDs like Alexandros said. Items can be up almost $10 and then fall back again rapidly, so don't despair. @erwbowl : thnx also for your input. As this is also a little bit of SHM-CD vs XRCD transfer quality topic and me eventually preferring the original cover+jewel case format version of the forthcoming japanese SHM-CD against the amended cover+larger format case of the XRCD, are there any experiences btw comparisons of the actual SHM-CD transfer quality vs the XRCD transfer quality ? To be more specific, I do have some XRCD`s and know their merits, so the question (for me) ist just wether the SHM-CD version is tranfer-/soundwise similar/comparable or not.......

It was released on XRCD24 in January. Link The XRCD24 is probably the one to get and there's not much of a difference in price. thnx - was aware of the XRCD but distantly remembered there was a japanese CD release in 2009 (??) ......... just curious (even more now), what`s the economically most viable source reg XRCD`s for european buyers - even if using the most attractive amazon.uk plattform dealer`s pricing this comes up incl postage for euro 26 and via amazon.de euro 28...directly @amazo.de the price ist 38 (!!!) euro ....... Being in EU, by far the best way is via Importcds: approx $21 plus $3 shipping if you order lets say 4 discs. alexandros, thnx for your feedback

It was released on XRCD24 in January. Link The XRCD24 is probably the one to get and there's not much of a difference in price. thnx - was aware of the XRCD but distantly remembered there was a japanese CD release in 2009 (??) ......... just curious (even more now), what`s the economically most viable source reg XRCD`s for european buyers - even if using the most attractive amazon.uk plattform dealer`s pricing this comes up incl postage for euro 26 and via amazon.de euro 28...directly @amazon.de the price ist 38 (!!!) euro .......

Just curious - Tina Brook`s "Back to the tracks" was previously never released as SHM-CD, right ?

Interesting, never saw this one before.......just formerly once been in touch with "The Exciting Gospel Sound of the Duncanaires" on Battle......

a pleasure, glad i could be of help

Can contribute just an excerpt : The works recorded here are a faithful reflection of the way in which history and art came together. The music was written to be performed by the full range of instruments, in terms of number, quality and diversity, available at the time. Lully had an incredibly rich sound palette to work with: as many strings as he could wish for, virtuoso flautists, the full range of oboes, all manner of percussion instruments, the brass section, keyboard instruments, lutes, theorboes and guitars. Although indications on the scores are rare, the occasional manuscript bearing the inscription "M. Lully joue" (Monsieur Lully performs) provides indirect evidence concerning the diversity of instruments used, indicating that the piece is for solo violin with florid ornamentation, or for guitar ensemble. Stage music of this kind required variety, not only in terms of the instruments used, but also in terms of the tempo, rhythm and means of expression. Diversity, within a context of continuity and development, was also a hallmark of the works themselves. Le Bourgeois Gentilhomme was the apotheosis of comédie-ballet, and (together with Psyché) marked the high point of Lully's collaboration with Molière. In this work, the music is not confined to M. Jourdain's eternal minuet. It has an infinitely rich score, as regards both the comedy itself and the Turkish Ceremony (Cérémonie Turque) and the Dance of the Nations (Ballet des Nations). The Spanish or, in the parlance of the age, Gypsy) Airs (Les Airs pour les espagnols) demand a colourful and brilliant execution, as do the Entrée and the Chaconne des Scaramouches. Royal Divertissement (Divertissement royal) gave another facet to art at court: great festive music of the kind that King Louis XIV, at the height of his youth, constantly commanded to be composed. Out of such festivities was Versailles born, and indeed it is the sumptuous, heroic and elegant reflection of Versailles in its early days, before 1680, that we find in this music. The instrumental music in Alceste illustrates how opéra à la française took shape. Choreography, which resulted from the fusion of ballet and tragedy, played a key role in the work, developing the full potential of court ballet: pure dance music (minuet, marches, air des démons), vast choreographic scenes (Rondeau pour la Gloire, Fête infernale), descriptive music for pantomime and dance (Les Vents) and grand, lyrically evocative funeral music (Pompe funèbre). PHILIPPE BEAUSSANT Translated by Jacqueline Minett

particurarly subject CD (*) is a treasure trove for the true Janacek lover.........and the de Leeuw ain`t too shabby either

remember a similar sentiment when listening to his other Soulnote outing "Motion/Stllness" what now seems like ages ago.......

that's right. but be warned: once you hear one... @ etherbored : as just having pressed the "order" button, I can`t guarantee your disclaimer being sufficient and prevent liabilities in case collector`s madness takes over with me

confessing this was not on my radar until now....but liebman+farrell+foster.. this is gene perla on acoustic bass, right ?.....feel inclined to give "genesis" a try

uodate as of April 10th, 2014 available......

i believe this is the best possible positive stance towards "WyntonCrouch"

funny old times ;-)) kept "Spirit Sensitive", but got rid off "Fathers and Sons" though.....reg Von Freeman very much preferred Mr. Nessa`s product(s) and had an extra weak point for "Young and Foolish" on Daybreak Yeah, the Daybreak LP is great. Regarding Chico, Arthur Blythe, Don Pullen and that early '80s scene, I think those guys were way more on top of merging creative music and the tradition and doing something really worthwhile with it than the Young Lions of the period. Would much rather spin an accessible Chico Freeman LP than anything by Wynton and his ilk. probably me being not clear enough, but by no means it was my intention to put Freeman, Blythe, Pullen et al synonymous to "Young Lions" or "Wynton`s world".......but probably while lurking into neo classicism it became tempting to cross-over....in Chico`s case this happened (for me) via "Father and sons" (somehow mirroring Ellis and Wynton Marsalis "projects"....??) No, I know what you meant. I was just saying that those guys seemed to do a better and more interesting job of making cohesive, forward & backward-looking work than the Young Lions did, and should've been the ones to "make it." Imagine if JALC was headed by someone like Olu Dara? ok, got you - good example reg olu dara, on the other hand if his "destiny" (or should i say his destination ?) would have changed then most likely we would have been deprived for instance of his contributions on the theadgill sextett`s "when was that" or "just the facts and pass the bucket"......hard to imagine (for me)......

funny old times ;-)) kept "Spirit Sensitive", but got rid off "Fathers and Sons" though.....reg Von Freeman very much preferred Mr. Nessa`s product(s) and had an extra weak point for "Young and Foolish" on Daybreak Yeah, the Daybreak LP is great. Regarding Chico, Arthur Blythe, Don Pullen and that early '80s scene, I think those guys were way more on top of merging creative music and the tradition and doing something really worthwhile with it than the Young Lions of the period. Would much rather spin an accessible Chico Freeman LP than anything by Wynton and his ilk. probably me being not clear enough, but by no means it was my intention to put Freeman, Blythe, Pullen et al synonymous to "Young Lions" or "Wynton`s world".......but probably while lurking into neo classicism it became tempting to cross-over....in Chico`s case this happened (for me) via "Father and sons" (somehow mirroring Ellis and Wynton Marsalis "projects"....??)

funny old times ;-)) kept "Spirit Sensitive", but got rid off "Fathers and Sons" though.....reg Von Freeman very much preferred Mr. Nessa`s product(s) and had an extra weak point for "Young and Foolish" on Daybreak

since hearing this for the first time in the early eighties still one of my chico freeman faves...what a fitting contrast beetween freeman`s loose playing and the tight rhythm section(s)......... MIne too, as ballad albums go this one takes some beating. Actually a good friend marvelled at that time (aka early 80s) about Chico Freeman`s tenor tone, being based on his (father`s) roots, and thought this is proved to vast extent in "Spirit Sensitive"......no question the "Zeitgeist" was more consequently mirrored in Chico`s self titled India Navigation record from 1977, the far east tinged "The Outside Within" or the Black Saint outing "Warriors"........ Still tells a lot about Chico`s self confidence to record music "against the tides"....of course this was also on the verge of jazz music`s neo-classizism and vaguely remember Chicho being in the outer circles of the early to mid 80s "young lions" labeling, but probably me being wrong..... PS just out of memory, did not Arthur Blythe record "In the Tradition" at subject time too ??

since hearing this for the first time in the early eighties still one of my chico freeman faves...what a fitting contrast beetween freeman`s loose playing and the tight rhythm section(s).........

good news (at least to me) regarding "choma" - what`leaves me somehow stunned ist the fact that ace ist not using the original album`s artefact as a whole and in if there was a need being a little bit "creative" reg. artwork, why is this now different to foster`s "loud minority" and has to be part of the "boblicity" series with the "fat" logo featured on it......or is this just me being too stubborn and picky ??...just wondering, and even more so, as there is a lot of respect regarding ACE as reissue company with me..... PS and with alice clarke "the complete studio recordings 1968-1972" a third different approach from ACE to use mainstream`s original coverart....... Update as of April 9th : either yesterday me being weary eyed or simply unable to realize facts, but the cover design seems rather in line with the recent frank foster "loud minority" reissue - profound apology from my side !!

i believe the relating stray tracks - at least me being positiv regarding "awareness" - were part of the japanese reissues....