ArtSalt

Aye, taking the unfortunate albums out of his canon where the intent was to recreate The Sidewinder, as both leader and sideman, Morgan had a very impressive body of work. Including the most masterful Morgan original The Lion And The Wolff.

I'm actually a fan of the The Kennedy Dream album, a great calling card for the Hollywood studios; expansive, groovy and eerie in equal parts. I don't understand the "Marlboro Country" comment, is Leroi saying ON has sold out to the man and now just making music for commercials?

The sound on these series have underwhelmed me too, the Jimmy Giuffre ones are also dissapointing and flat. The Max Roach and Hassan failed to ignite me too and I just haven't been back to listen to any of these after the first listen. The ones I have are all the Rhino remasters and despite having obi strips and being sourced from Japan, a number I have found to be made in the EU (Max Roach and Hassan). It drives me mad listening to the different sonic characteristics and quality of remasters trying to find the ultimate version!

A lot of Italian composers, including Morricone and the likes of Piero Umiliani, Bruno Nicolai, et al flirted with some wonderful bossa nova and jazz soundtracks for soft porn films in the late 60s and 70s. I actually really like them, the music not the films that is! I've heard of the Dexter Gordon porno film soundtrack, but never come across it, even in the outer reaches of my ebay adventures.

I'm waiting on this Sam Rivers too, mauled by the critics at the time and allegedly sold about 10 copies. Also waiting on these late 60s and early 70s fusion sessions: Elvin Jones - Genesis and Poly-Currents. Bobbi Humphrey - Flute-In I also ordered Maiden Voyage back at the beginning of January, along with SHM's of Hampton Hawes Vol 2 + Vol 3 but after about five weeks, CD Japan tell me that the Hampton CD's are no longer available and there isn't going to be a new pressing. So now, at last, Maiden Voyage is on its way to me. Can't wait, if its the same benchmark standard of the remaster of Empyrean Isles it will be a winner.

That cheap journalise pretending to be hip to Miles and jazz grates with me as well. A friend sent me an article earlier this week where someone was reminiscing about their father digging Brubeck's Take Five in his car and then drew upon the alleged dichotomy between Brubeck's image and that of Miles during the recording of Kind Of Blue back in 1959: "'Davis looked like an advertisment for voodoo. Brubeck, of Swiss extraction, looked like an advertisment for J. Press or Brooks Brothers. Davis looked as though he wanted to eat you. Brubeck looked as though he wanted to give you a seminar on Schoenberg’s twelve tone technique." It sounds rather nice and erudite, but it is all fury and signifying nothing! The urbane and sophisticated 1959 Miles as primitive voodoo priest is so way off the mark.

I recently purchased the Japanese CD version of Stan Meets Chet on Verve with the edition code UCCU-9754. This is the current version you can purchase from CD Japan. It alledges to be in stereo, but in fact it is mono. What's more, compared to my stereo version from Polygram in 1996, remastered by Andrew Nicholas, it sounds dull and lifeless. The 1996 edition is by far the better version, albeit a little bit glassy when you crank the sound-up. I wonder if my ears are playing tricks on me, perhaps as 1996 was at the height of the loudness wars, I am merely under the illusion that loudness is equalling sound quality? Indeed, generally, I find the differences in remastering quality extremely subtle and generally a case of slight improvements, or even a different focus on a certain instrument in the foreground. And in most cases, I find the Japanese remastered versions are the best. So something seems amiss here, and perhaps the current version is closer to the original pressings, but I somehow doubt it. Anyone else experienced a similar situation? I must admit this is bugging the hell out of me, as I listen to each version and note the differences.

Bump! Just picked-up the Japanese Atlantic CD in 24bit of Clickin' with Clax, brilliant beaming west coast cool! Agree with comments and recommendations for Wherever The Five Winds Blow, but also I recommend the Gene Norman presents Modern Sounds - Shorty Rogers & Gerry Mulligan. With His Giants, Rogers gets the A-Side recorded in 1951 and it will dispel any prejudices about the west coast.

I have the second run of the trio CD from 2001 it states the following: The first CD of this material carried an alternative take of a "A Crutch For The Crab" which was actually the same as the master take. The original master tape for the introduction of "A Crutch For The Crab" has been stretched beyond repair. That portion of the song was dubbed from LP. My understanding of the did Baker supply Twardzik with the drugs that killed him debate, is that Baker subsequently made out during this period he was clean and it was only after the death of the gifted pianist that he took to junk to find solace from the pain of the loss. Twardzik's family certainly blamed Baker and with the archaic drug laws of the period, it was likely Baker would resort to all means necessary to distance himself from being seen as a user of heroin. In any event, Twardzik had a habit, or at least was using it before the tour of Europe. As Russ Freeman has stated in interviews, he was first choice as pianist, but having flirted with heroin before, he took one look at the junk filled eyes of Baker and the crew he had surrounded himself with and decided that was definitely not for him. So, Baker was already a user and addicted before the tour. The biography is now available by Jack Chambers Bouncin' With Bartok: The Incomplete Works of Richard Twardzik. I am a fan of Bob Zieff's composing and arranging with Chet Baker in the late 50s, it would have been interesting to see how this progressed in the 60s, if they had worked together further.

I would like to see a complete reissue of Norman Granz Collates 10"s and other early stuff on Mercury, Clef & Norgran. The current David Stone Martin SHM's are a welcome step in the right direction, but this is a limited number of reissues. Also a reissue of The Astaire Story in the four album format and box set with the facsimile of orginal book with the David Stone Martin art work.

If it's K2 mastered it should be very good sound. I don't have the complete Monk on Prestige set, but I've the Monk Trio SHM-CD and the sound is excellent. I see the current Blue Note and Prestige 7000 series SHM-CD's as complimenting each other, both are issued under supervision of Michael Cuscuna who does the brief notes on the Blue Note's and Ira Gitler for the Prestige. As stated by others, these are cost effective reissues, but when you start buying them half-a-dozen at a time they're not that cost effective to one's bank account!

I haven't the Sonny Rollins (yet), but the Monk Trio is superb, really on form sessions from '52 (Art Blakey and Gary Mapp on bass) and '54 (Max Roach and Percy Heath) with bonus tracks Work and Nutty. Similar to the Blue Note series, Michael Cuscuna is involved and also Ira Gitler does the introductionary notes. I've just purchased the first Moondog release, we'll see how that ones goes!

I think the issue gets obscured by that enduring yet somewhat elusive quality of provenance which dictates that one must be as close to the original source tape or deep groove Blue Note or the remastered version will not be authentic. But authentic to who's ears? The other interesting issue touched upon in the Hoffman forum topic, is that Blue Note is not, from an audiophile perspective (and others depending on taste and preferance) is not the technological epitamy of modern and hard bop jazz recording in the late 50s and 60s. But, if you speak to Blue Note deep groove aficionados, some record shop owners and those getting into jazz for the first time, you will see that Blue Note is king, whilst the likes of the better recorded Contemporary Records stuff is largely ignored. Great for collectors like me, who can pick-up Contemporary albums up cheaply compared to Blue Note. Indeed, a number of my mod friends in the UK, who are now getting into the roots of modernism and exploring jazz, have started to wax lyrical on the mystical and technological brilliance inherent in the Blue Note recordings that eminate from the genius of Rudy van Gelder, are genuinely quite shocked when I inform them that Rudy was recording engineer for several record labels and much of the brand sound of Blue Note when compared to the likes of Prestige is down to rehearsal time and laying on some food and beer at the session. But not to take anything away from these Blue Note SHM's, I am buying them in abundance, but the current Prestige 7000 series SHM-CD's are equally as brilliant and worthy of praise and our listening pleasure. The David Stone Martin 10 inch Collector's Selection is also sonically good (although appear to be needle jobs in the main, but perhaps the best way for a CD version to get as close to the first pressing?) and are a very nice representation of the Norman Granz 10"s from the very early 50s.

Indeed, very interesting, I noticed a comment about a Lee Morgan topic being deleted, what happened there?

I'm not the one who is stirring up anything. You are the one who is throwing around unfounded accusations here. Not knowing the rules and regulations of importing certain items from outside the EU - which is apparently the case here - is not an excuse. There's nothing unfounded it what I have posted, in any event, your threats are academic: I will just claim Diplomatic Immunity and carry on. Toodle-pip!

J.A.W., I don't want to enter into a ping-pong match here, and with respect to your long standing contribution to this forum, but as you seem intent of stirring up the proverbial with mention of court cases, I ask you to refrain from escalating this matter out of all proportions. It is my perception that some import duties are excessive, I think this is common in most countries, with the exception of Australia I think, as they are free to import goods upto AUS$1000.00, or at least they were awhile back. In any event - here's a plug for my fellow jazz fan and noted author and graphic designer: Graham Marsh - I don't suppose there's special import duty on goods (i.e. shirts) he has been involved with that would justify the import duties I was asked to pay. If there is, as a jazz fan, I would quite happily take this to the International Court of Justice in the Hague (as it's only two tram stops away from me) and make case that jazz fans were being victimized and set-upon by ruffians imposing undue import duties.

Correct, that's the law in the EU, though the percentage varies from country to country, depending on their VAT rate. Your assumption is not correct. Tax and sometimes duty are imposed in accordance with EU law, not arbitrarily, and customs can't and won't ignore any claims and appeals. It is not assumption, it is fact based on my experience: the import duties are not uniform across courier based on similar value of goods. Therefore, the taxes and duties, although should be imposed within EU law are being circumnavigated. This I might add, is not only my position, others are complaining too. You may be right, the customs can't and won't ignore any claims or appeals, but there seemed to be a lack of a formal claim process explained to me, without a clear process of appeal, then I am not going to risk losing my money, in addition to time, effort and worry. Indeed, the fact that more than double the declared value was attempted to be charged tells me the game is rigged and they think they can get away with it. Whether that's the customs, or someone in the courier company, I don't know, either way, I just want fair import duties and I don't want to have to fight for this, so I decided not to play their game.

holy smokes! that's insane! how awful. You want insane, the price of "international" shipping to Canada is the same as to Europe. Tell me that's fair when it's being trucked up from Seattle or Buffalo or some such place. It used to be $1 more than domestic shipping. The import duties to the Netherlands have recently gone insane, defying all logic of value and can be best described as ascribed by someone under the influence of the latter stages of brain syphillis. Of course, some couriers are notably worse than others, which only reinforces IMCO that the duties are imposed arbatarily depending on the night before, the time of the month, or inclement weather, or whoever is detailed with that job on that day and hour. As an example, I recently purchased one of the Ivy League oxford cloth button down shirts designed by Graham Marsh from Kamakura shirts: declared value $59.95, import duties €117.00! Needless to say, I wasn't willing to pay that and fortunately the shirt company was sympathetic to this and agreed for the shirts to be returned and to try again. As an exercise in stopping the consumer from purchasing from the States and Japan, this attack on global trade and the common man is not working according to plan, not with me on the case! At least yet, but it does pose serious threat to the positive aspects of globalised business. At least at grunt level. What was the carrier, TNT? I thought the law stated €13 + 21% over the value of the goods plus shipping together. This for imports (from outside the EU) over €22. The Japanese side was Express Mail Service and it was TNT this side. I was told I could make a claim only after I had paid the import duties, which I wasn't going to fall for, knowing all too well there would be absolutely no response after I had handed over my had earned loot.

I thought the problem with squeaks was caused by the recording machines of the era? I've the new Audio Wave XRCD remaster of Candy and yes, it's there and highly pronounced. There's a Clare Fischer album that's equally as problematic as I remember.

holy smokes! that's insane! how awful. You want insane, the price of "international" shipping to Canada is the same as to Europe. Tell me that's fair when it's being trucked up from Seattle or Buffalo or some such place. It used to be $1 more than domestic shipping. The import duties to the Netherlands have recently gone insane, defying all logic of value and can be best described as ascribed by someone under the influence of the latter stages of brain syphillis. Of course, some couriers are notably worse than others, which only reinforces IMCO that the duties are imposed arbatarily depending on the night before, the time of the month, or inclement weather, or whoever is detailed with that job on that day and hour. As an example, I recently purchased one of the Ivy League oxford cloth button down shirts designed by Graham Marsh from Kamakura shirts: declared value $59.95, import duties €117.00! Needless to say, I wasn't willing to pay that and fortunately the shirt company was sympathetic to this and agreed for the shirts to be returned and to try again. As an exercise in stopping the consumer from purchasing from the States and Japan, this attack on global trade and the common man is not working according to plan, not with me on the case! At least yet, but it does pose serious threat to the positive aspects of globalised business. At least at grunt level.

I think there's always a market for improved quality, combined with extra tracks, it will always be tempting to move onto the next technology, format or "ultimate" remaster. The price of the current crop of Blue Note SHM-CDs are very reasonable and I've purchased a couple where I already had RVG's, also to XRCD's. I've been auditioning a couple of reissues today: Monk's Genius of Modern Music Vol.1 with the latest SHM-CD compared with the RVG from 2001. Well, there's certainly more tracks on the RVG and in the order of recording which can be make for an interesting listen. But the depth and punch in the sound of the SHM-CD with less crackle from the source is a winner IMCO. It certainly isn't a revolution in listening, but it is significantly better. Morgan's Tom Cat with the Audio Wave XRCD compared with the RVG. Here the difference is more pronounced with a much wider stage of sound on the XRCD, warmer too. On the basis of the Morgon XRCD's I've purchased Blakey's A Night In Tunisia, which I have in vaious formats, but I am not buying the SHM-CD version to sit around all audiophile nerd trying to spot the nuances and subtlety of quality compared to each other! I think one of the problems, that leads to a market for exploitation of further Blue Note reissues, is that there has never been satisfactory remastering in a lot of the previous reissues, one that could compete with good vinyl pressings. With the latest XRCD's and SHM-CD's we are at last in the ball park.

As it happens, I dissmantled the set-up, reconnected it, kept everything on since Saturday morning and it seems to be working fine today with Art Blakey's Holiday For Skins Vol.1. I am erring on the side, that it was some sort of static in the amp or something on the connectors. In any event cured now, phew! Nothing more grating than having a set-up that isn't working optimally.

I've the Noel Coward diaries on the go at the moment, he comes across as quite a stoic patriot, despite his tax exile status in the Caribbean. There's also no bitchiness in any of his character observations, which are engaging and full of empathy. The diary is much more mature and interesting than the first part of his autobiography Present Indicative which I find trite and shallow. After this I will probably read Future Indefinite which covers the war years. He didn't dig bebop though, in one of the posts just after the war, a young starlet takes him out clubbing in Chicago and they end up in a jazz club and he has to leave, as he can't stand the cacophony any longer. Back at the hotel his diary entry states that he realises he is 47 years of age, but quite sane.

I've got the Charles Mingus A Modern Jazz Symposium of Music and Poetry, which has three extra tracks on. I like this album, unusual with a nice coffee house Beat vibe to it.

I've been powering Ultrasone Pro750 headphones through A Musical Fidelity headphone amp with the source from a Naim CD player, but the sound appears rather MP3 like. Of course, when I'm listening through the speakers, it's a great sound, but there is a remarkable decrease in sound quality in headphones. The headphone amp is a couple of weeks old, so I haven't run/burnt it in yet, but I am not sure whether this is a headphone issue or amp. If it's the amp, then I am not going to get any mileage out of upgrading to better pair of headphones. I don't remember these issues when I had an old tape deck, you just plugged your headphones in and it was the same experience as with the speakers. Anyone else been having this type of headphone blues?