king ubu

Not sure ... I'm always cautious about these kinds of "progress" dogmatics - each and every reading, recording, interpretation has to be seen in light of its time and knowledge of sources etc. (and of course that includes denial of knowledge and such, too) - and this again applies as much to Stokowski or Furtwängler or ol' Klemp as it does to the self-proclaimed beginning and end of HIP (NH) or any other, more modest artist. Obviously some stuff gets old and unlistenable, but what might indeed differ from person to person. Some here like to make fun of me because I love listening to older recordings a lot of the time ... to my ears they are new, I didn't know them before and I want to know. Other things (and I think this SEON box might well be one of those) aren't of much interest to me on the other hand. I guess it all boils down to taste and preference, as so often - and of course some are better in making or defending their points than others, but that doesn't necessarily make it more a valid stance. However of course, lots can be learned and absorbed (by way of listening and re-listening with new ears or rather: an other or expanced mindset) from discussions on such topics (but I still lack the answer from Moms why Perahia's Mozart concertos suck - still want to know!)

just checked my own files ... haven't started exploring it, but he's on several compositions on this: 50 Jahre Neue Musik in Darmstadt - Internationale Ferienkurse für Neue Musik 1946–1996 (4 CD, col legno) few copies around, it seems: http://www.amazon.de/50-Jahre-Neue-Musik-Darmstadt/dp/B000024ST8 full details: http://www.internationales-musikinstitut.de/media/com_form2content/documents/c1/a442/f14/Darmstadt1996.pdf

there are some easy-to-get things, which I don't know though: http://www.amazon.com/Best-Boccherini-Various/dp/B00000416O/ http://www.amazon.de/Complete-Flute-Concertos-Severino-Gazzelloni/dp/B0000041F2/ prob. same stuff on these two (didn't try to figure out): http://www.amazon.com/Flötenkonzerte-Gazzelloni-Severino/dp/B00004TB17/ http://www.amazon.com/Vivaldi-Flute-Concertos-Antonio/dp/9051861087/ probably not the kind of repertoire you imagined ... he seems also to be present on this: http://www.amazon.com/Bach-Brandenburg-Concerti-Johann-Sebastian/dp/B000004164/ also this: http://www.amazon.com/Flute-Concerto-D-Handel/dp/B00008ESIJ/ but this here might be interesting: http://www.amazon.com/Grande-Aulodia-Severino-Gazzelloni/dp/B002AG2NL6/ or this: http://www.amazon.co.uk/Gro%C3%9Fe-Interpreten-neuer-Musik-Schallplatte/dp/B0041OMJIM there's also a disc with music by Nino Rota: http://www.amazon.com/Severino-Gazzelloni-Plays-Nino-Rota/dp/B00000IK7Y/

Definitely! Doesn't mean that Jasmine etc can't also be of a high standard... and i do really enjoy Jasmine, but it definitely, definitely, definitely isn't Jarrett and Haden circa 1974... and yes, why should it be, and yes, that is not necessarilly a bad thing, but yeah, anyone who doesn't like recent Jarrett but is getting caught up in the moment and rushing out to buy Jasmine should be fairly forewarned. If you don't like recent Jarrett, don't expect miracles, that's all i'm saying. It's good for what it is (and I'll eventually buy the second helping, too, I'm sure) - but for anyone not buying p/b duos, there's other ones by Haden they ought to look into (the ones w/Hank Jones, Chris Anderson, Hamp Hawes for starters) before I'd even mention the ones w/Jarrett.

'cept Haden made a whole run of better duo albums with other pianists.

If you use this what size do you choose? (It suggests 640X480 for message boards.) Doesn't matter much, as the software often seems to smallen them or adjust them to display/window size. Those are external links (the image remains on amazon or allmusic or the blog you found it on, or alternatively in your account on one of those image hosting sites, if you decide to open one). For the forum, such linked to images are less of a burden than using the attachment/thumbnail function (which places the file on the server). However, even in our times of high speed and flat rate internet, having many huge (that would be quite some more than 640 x 480 though!) images might take a moment to load on the board members' computers when opening such a thread. Still, I'd not use the attachment function much.

Conny is colloquial/short for Conrad/Konrad, I assume (might also go for different names, such as Cornelius or whatever ...) - seems he was a "Schlager" composer, also wrote stuff for movies and for TV ... here are two samples of other tunes composed by him: http://m.unippm.cn/Browse/Labels/CD%20Listing/CD%20Details/Track%20Details.aspx?cdId=10145&wId=777219 http://m.unippm.cn/Browse/Labels/CD%20Listing/CD%20Details/Track%20Details.aspx?cdId=10145&wId=777220 So I guess this was an old tune these dudes enjoyed re-arranging for their purposes ...

You can also directly attach a file to a post - click on "more reply options" and on the bottom you'll find "choose file" - maximum size is 100KB, so images need to be resized, which is why going through one of those image hosting pages (I use photobucket) makes more sense.

No, Avids aren't boots - not in the UK and not in Europe (and I assume most of the rest of the worlds). Boots they are when imported to the US And yes, Real Gone has all kinds of bad reputations due to defective/unrippable tracks, MP3 sources etc. Never heard such a thing about Avid. I wouldn't say I'm "very happy" with 'em, but they have some quirky kind of do it yourself charm which stands quite nicely opposite to those professionally looking releases coming out of Spain, with their snazzy layouts and liner notes that are all pretension way too often (and yeah, I guess I do need to exclude Fresh Sound there, they ARE better, no matter what your stance on "boot" or not "boot" or whatever).

care to elaborate? I like those albums, all of 'em, and I agree that the ragbag one is the weakest of the five. As for Avid, it has always been my impression that they were somewhat more honest than your regular european PD mining label, as I thought they actually did their own vinyl transfers. But I don't really know more ... don't have all that many of their sets and rarely play the ones I do have.

I usually pick out stuff I want to listen first ... then put those back into the box at the back end and take out another bunch of things ... that might change, as I'm often proceeding similarly to Larry. So stuff I once picked out might go back in unplayed, whilst other stuff gets played first ... but usually my way of dealing with these boxes is just this: what I've played (and don't feel like playing again immediately) goes back in at the back, so I have some kind of control what I've played and what not. There are many boxes of which I've played a third or half or two thirds, and they have been around for one or two years. Doesn't bother me at all as I want to explore new stuff when the time is right (many of those boxes contain repertoire - i.e. symphonies from Schubert onwards - I've not really started to explore at all yet, so I tend to skip those for the time being, waiting until the day will come when I'm going to start exploring Schubert's symphonies (I've just given a first spin to the "great" and found it most interesting, very repetitive, different certainly from any other symphonic music I've listened to so far, but again it sounded pretty familiar, probably so because I've played lots of Schubert piano sonatas and chamber music and lieder).

Wow, that long. Great photo above. Guess it might finally be time to listen to that solo concert on Intakt. Never dared to so far, the memories are that deep.

Cheers on all that, Volkher - very much in the same boat as you, also regarding the All-Baroque box. Moms may have a point if you go through it work by work, but to me, it amounts to a sh*tload of enjoyable and yes, to my ears and still pretty limited knowledge, very good performances. In many cases I do have other recordings and I'd not say those in the box are less good than the others I've heard, they have their merits, while others have other merits, obviously (regarding, to pick out one example, "Messiah", Christie clearly does it for me, but I'd never call the Pinnock or McCreesh bad, just as I'd never come up with the concept that they're "surpassed" - the Harnoncourt from 2004 still needs to be listened). Just in case, amazon.it has a prohibitive price on the Abbado DG symphonies box right now - I just gave in, at € 50.90 (minus VAT, ends up at less than 42 for me and will easily pass custom, too): http://www.amazon.it/Claudio-Abbado-Wolfgang-Amadeus-Mozart/dp/B00BN1QV0S/

I have La Venexiana's "Orfeo" - it's good. Also Rinaldini's - even better. But still, I prefer Gardiner, can't help it. Not a fan of Savall's so far, but I've heard little. No idea what my stance on Gardiner will be in ten years, but right now, I'm in. Love his Bach cantatas and more. And his Mozart operas, too. And then the piano concertos with Bilson (you still owe me a reply btw, regarding why you think Perahia sucks bigtime in those - I enjoy his recordings quite some though they're not top favourites). As for H ... in colloquial german I'm tempted to say he's got a "Knall" - read a lenghty interview where he complains about being the first and last and only one caring for historical performance practice, that there are no younger ones taking over, so he still has to handle the whole workload ... and other crap. Not sure how to what extent the guy asking the questions is to blame, but really, H is a dick, and that's putting it mildly. Of course again that doesn't disqualify his musical merits, but his Monteverdi (haven't heard "Orfeo") is pretty odd (also way over the top regarding orchestra size, it seems?). I've got some Haydn masses I've enjoyed though, and a few other things, mostly choral/sacred (but I don't need boys singing Bach cantatas, so I've heard none of those so far). (uhm, "Rinaldini" being Rinaldo Alessandrini of course - I never get his name right, but I love pretty much everything I've heard, including his take on Monteverdi's "Vespro")

Guess I'm interested in how interpretation evolved, too, so not only looking for "the best" (wouldn't even really know how to do that, where I want HIP, where not, what kind of approach with what work etc. - I'm learning as I continue my explorations, developing and discovering my preferences). Love, for instance, the Gardiner in the All-Baroque box. There may be more "accurate" or "correct" or "adequate" recordings of Monteverdi's Orfeo, but none grabs me as much as Gardiner's, who has the best singer in the title role - at least so I hear it. But mind me, I'm no expert and my classical journey started inky two years back. (edit for typos made on dumbphone ... note so self: stop posting on smartphone, it sucks)

Surely disagree on the Baroque box!

Oh, belated best wishes, Tom!

By far! Yep, Fantasy was doing some great sets when they sold out to Concord. The 3 Trane boxes, the Davis Quintet, the Stitt, the Evans VV, etc. Beautiful stuff. Concord gives us the "... Plays for Lovers" series. Those were all released after the Concord sale. Excellent sets far superior to anything Fantasy put out. Sadly Concord got cold feet ater an initial flurry of great releases. My summary of the situation would be: Fantasy = quantity but no quality Concord = quality but no quantity. Take your choice! Not sure ... I agree about the presentation of those boxes, mostly the three Coltrane ones, which are indeed wonderfully done (but the way the discs are stored is still beyond moronic). How many of those were in the planning stages when Concord took over and/or prepared by Fantasy folks that were laid off soon after? Anyway, certainly OJCCDs were "basic" if you want - but I love them still, don't feel any need to get Japanese replacements, they sound alright in 99% of the cases, which cannot be said of the product that Verve put out in the late 80s/early 90s (they only started doing nice presentations in the second half of the nineties, too, just in case ...), neither can it be said of the early Sony CDs or of any BN CDs (we're past all those fights, but there are bad-sounding McMasters, bad RVGs ... to an extent I never felt there were bad Fantasy discs ever - and early BN CDs, 1987-89 or so, when they put out virtually their entire catalogue - were just as basic presentation wise as OJCCDs were). As for Concord, I'm not a nay-sayer in general, they put out some good stuff (those late Getz albums for instance!) that goes a bit further than their reputation (as I perceive it) admits. But their taking over of Fantasy really hasn't resulted in all that much. Previous discussions have indicated that those boxes were all developed by Fantasy, and that Concord just pushed out what had already been done, then laid off the people involved. Overall, I have no complaints about Fantasy. Unbelievable how many obscure but worthy titles they re-released from the Prestige/Riverside/Contemporary catalogs. That's what I had in mind indeed! And I still disagree - Fantasy CDs may have never featured the snazziest layouts, but they never had any of the quality control issues EMI suffered from or the kaputt remastering of early CBS/Columbia/Sony albums or the silliness in packaging coming from PolyGram/Verve/Universal ... and to your regular listener like me, they always sounded very much alright. I never felt an urge to replace early OJCCDs, really. I couldn't care less about them being reissued in Japan these days. Also, regarding EMI and actually putting out stuff of small labels and minor artists - if they weren't on Blue Note, I'm not so sure either. Colpix? Roost? Roulette? Pacific Jazz? In way too many cases it either took Mosaic or Toshiba/EMI Japan to bring things to light. And when EMI did a run of Nina Simone's excellent Colpix albums, you had to search for the rare one without that silly copycrap thing added. So no, you won't convince me this time, I'm afraid - Fantasy was alright and then some!

sorry, I mixed things up ... it's this disc of course: "Midnight Session" (disc 4 #3) is by Conny Schumann, "Sweetie's Bounce" (disc 4 #5) by Doldinger - just checked the booklet and that's what it says. That's a very good four disc set btw, the official albums on discs 1-3 and disc 4 filled with live rarities and some sideman cuts (such as "Midnight Session" which indeed comes from the album "Rolf Kühn feat. Klaus Doldinger") No idea, btw, who Conny Schumann is - not Coco, I assume.

Some good offers here - 150 box sets at reduced prices (with some it's just a few cent, with others, there are substantial price reductions): http://www.amazon.it/s/ref=sr_pg_1?rh=n%3A412600031%2Cn%3A%21518398031%2Cn%3A%21518400031%2Cn%3A4891956031

Hey, I'm building a collection myself, so yeah, obviously there's MUCH interest in these boxes here! Glad posting links helps you (and yes, I'm not the only one doing this of course!) Re: Beethoven, I went for the EMI box, which looked more tempting to me than the DG one (and the Sony, too). But the EMI is OOP and is a rather lousy package (booklet has no recording dates, you only get the (P) and © years, often in bulk), it comes in papersleeves, too, and there are no notes whatsoever ... I assume packaging of the DG is similar to the All-Baroque box (i.e. cardboard sleeves but generic front covers w/info on the back)?

Klaus Doldinger, I should think! The tune's on this disc: http://www.discogs.com/viewimages?release=2821001 Don't have it at hand, but I chose it for a BFT I once did and when compiling the info, the name I typed in brackets behind that tune was Doldinger's.

Great cover above - is that the original? Never heard of this, but as Mr. Sangrey once said (sorry if memory plays tricks): I'd let Annie Ross drive my truck any day! Will be looking for this!

Happy Birthday!