DrJ

Matt: You probably already saw my recent post in another thread about high resolution audio, but if not: I'm thrilled with the Pioneer DV45-A so far. It is really great to be able to enjoy DVD-A CDs as well, whether or not they can keep pace with SACD is really kind of irrelevant as far as I'm concerned, because I think there will continue to be a niche market at least for some time for DVD-A and some of the titles in that format may not be issued in SACD, or at least multichannel SACD. Extremely reasonable price, too. The way we looked at it, why limit yourself to one high res format? If you do some direct listening comparisons, please post about whether you appreciate any sonic differences for SACDs between these players!

Cool, let me know what you think - maybe I'm hallucinating! I would like to claim that I had great foresight in buying the AVR-3300, but I didn't - I just loved the way it sounded and its design. It's really fun to keep discovering at intervals just how much vision Denon had quite a few years back (in receiver technology time!) when they designed what was really a very moderately priced receiver, such as the capability for 6 channel SACD inputs with direct signal pass-through, the direct 24/96 pass-through option for DVDs and I presume standard CDs, etc. I think I made a much better purchase than I ever realized I was making at the time.

I think you are right that Rudy's vintage recordings tend to be light in the bass category. But upon reflection I think it's one reason I like them so much. I find they are truer to the sound captured in a good listening venue, say the Vanguard, when the bassist is using minimal or no amplification. It's a bit quieter than we're often used to, but it's still full and rich. There's a refreshing lack of boominess and artificial bottom end that plagues so many studio jazz recordings. On a slight tangent: what WAS the deal with the way bass was recorded in the early 70's through mid 80's? My God, THAT was a horrid sound - a weird, twangy, thin thing, without any sense of resonance, flat and dull. I hate to say this because I admire his reissue work so much, but many of the dates produced by Michael Cuscuna during that era are some of the worst offenders. Funny enough, I also find RVG's later recordings (e.g for Muse and Reservoir) often have a little of that horrid sound, he seems to have changed his approach (and I know there are also many other factors like digital recording technology).

Thanks Claude. No real revelations in those reviews, but I appreciate your comments. I had done a Web search before posting and couldn't find much, but just now searched again since you found some reviews I had not. Had to use a whole bunch of search strategies on Google, but finally found the answer on page 3 of this .pdf document: Denon PCM Mode This makes sense, because in doing my comparison tests I used the Pioneer DV45-A universal player, which does allow 24 bit/96 kHz output (no downsampling)! My multidisc Onkyo changer does not. So this probably explains why I am hearing the difference, which as I mentioned is most prominent on 24 bit/96 kHz remastered discs (as I mentioned the older discs don't sound a lot different, maybe somewhat but probably just because I was using a better CD player). They talk only about DVDs here, though, but the tech manual is probably several years old (the AVR-3300 has actually been discontined) and I don't think 24/96 CDs were even being made then. So I have to believe that if a standard CD has the high resolution information, and your player doesn't downsample it (which is true on both accounts), then the receiver in PCM mode is probably passing the info on without loss of resolution. I also used my wife as a gold standard, as I always do when I'm trying to decide if I'm "hearing" the sales pitch or a real sound difference...I also did a blinded comparison with her. She couldn't really care less about audio quality but has a great natural ear. She could definitely hear the difference, nailing the correct setting every time.

Also agree with Jim to a point, but CHAIRMAN is actually one of my favorite big band albums of that era. There is a restrained feel, but for that band I think it really worked - and there's always the Mosaic of live material if you are in the mood to hear them bust out a little more! Will be glad to replace my vinyl copy, which is a so-so repressing.

The Sonny Clark is probably the best-sounding SACD of 50's era jazz in my collection. Wonderful job. The standard CD layer is really a vast improvement on older editions, too. Please post a review about the Turrentine date when you get a chance!

Eventually, probably the whole batch, if the reviews on sound are good. These are pretty much all staples. I agree with Claude that the Analogue Productions SACDs have been wonderful - warm, full, real - so I'm curious about Fantasy's ability to reach those heights, especially because I find most of their 20 bit standard CD series is not a vast improvement on older versions.

Chris, you must not be too happy after last night! Giants are showing signs of awakening, which is good news to me. Dodgers are a tough team, especially their outstanding pitching staff - should be an interesting battle for the pennant. But boy, I thought Perez really showed that talent alone is not enough to be a big-leaguer with his temper tantrum after the balk. Getting yourself thrown out of the game over a call that shouldn't even have been argued is strictly bush league stuff. Talk about misplaced frustration; I'm sure he was just upset about Grissom golfing a damn good pitch out of the park!

I have a Denon AVR-3300 receiver. It has a PCM setting for playing digital signals that subtly but definitely increases the apparent dynamic range of the music compared with the "Auto" or regular setting on the receiver, particularly for recently mastered CDs. For example, 24 bit/96 KHz remasterings in the Verve Master Edition series sound much better with this setting. Nothing as dramatic as the difference between CD and SACD or DVD-A, but definitely an improvement. Truer bass, more shimmer at the high end, and also greater separation and sense of depth with truer soundstage imaging. A bit less of that "compressed" sound when playing older CDs (although it definitely won't make a silk purse out of a sow's ear). Now, I know that I am not hearing the music at true 24 bit/96 KHz resolution, since standard CDs, by my understanding, ultimately require "downsampling" (to 16 bit I believe) to be played (as opposed to SACDs), whether PCM mode is used or not. But my owner's manual says nothing about how this PCM setting works, and the Denon Web site info I could find says something about the 2-channel signal being routed through more D/A converters than usual, resulting in improved sound. But I'm just not clear on how that could fundamentally change anything - since ultimately there is still the downsampling issue. Can anybody in the know out there clear this issue up? Obviously it's not a big deal, since the sound is better and that's all I really care about, but my curiosity is piqued!

Hey guys, I'm not even remotely religous, but even I can't help hearing the following in the back of my head upon reading this thread: "Let he who is without sin cast the first stone." Welcome Greg (Tony Jerant here, in case you didn't figure it out). Here's to hoping we can all just get along this time, agreeing to disagree when appropriate, and have some fun. Which is after all why we all come here in the first place, 'eh?

I think it was a very legit stop, that was a horrid cut. However, clearly Klitschko was the spiritual "winner" of the match, and Lewis looked pathetic afterward trying to maintain all the bluster in the face of a booing crowd and jibes from the press. In looking at the fight, I think Klitschko was just not quite able to put Lewis down...if he could have worn him down a few more rounds, it may have happened, but given Lewis' history of being knocked down, I can only conclude that maybe Klitschko just doesn't have a heavy enough "big punch" to put him on the canvas.

Along somewhat similar lines - humorist David Sedaris has a pretty hilarious bit involving singing like Billie Holiday. Truly worth a listen. This aired on the public radio program "This American Life." Go to: http://www.thislife.org/ and then enter "David Sedaris, Music Lessons" in the Search box and click on the link that comes up. The whole show is really funny, but you want to listen to Act One for Sedaris.

Thanks Jim, will definitely check it out. (and good to see hanging 'round these parts!)

Late in the game here, so let me just be another to compliment Jim on his choice - wonderful album, and if it isn't the pioneering Louis of the early days it's certainly an eloquent statement by a master. His trumpet cuts like a knife while serenading, with nary a useless note. Big, luxurious Columbia 50's era studio sound. Put me down as a Velma Middleton fan, too. I know many dislike her presence in this music, but I think it is not only enjoyable, it's crucial in creating a partner for Louis (he seemed to thrive off kinetic partnerships, from Lil to Hines to Teagarden etc).

A nomination: I have been savoring what I have come to feel is a very under-appreciated but pivotal album in the "inside/out" jazz of the late 60's: Max Roach, MEMBERS, DON'T GET WEARY (Atlantic, 1968). Roach, Bartz, Tolliver, Jymie Merritt, Cowell, and an Andy Bey vocal on the title track only. This one deserves close attention and discussion. In a similar ilk, I like Templejazz's nomination of Lee Morgan's LAST SESSION a WHOLE lot. For somewhat more "modern" recordings, a few that come quickly to mind as candidates: Jon Jang - TWO FLOWERS ON A STEM (Soul Note) George Cables - NIGHT AND DAY (DIW) Stephen Scott - RENAISSANCE (Verve) - not nearly enough discussion of this young master Harvey Wainapel - THE HANG (Spirit Nectar) - this one's obscure to many but trust me it is one KILLER album Henry Threadgill - CARRY THE DAY (Columbia)

Mine was smiling at me from the front porch at home as I drove up yesterday evening! Listened in the car this AM, as I didn't have a chance last night. "Oleo" is nice, blazing stuff, never heard Miles in better form on such boppish material. "No Blues," though, sounds like home - wow, this group was LOCKED IN. I cannot wait to savor this one over the weekend on the home system. I like Eddie Henderson's stream of consciousness notes, the personal flair is great and that "Bye Bye Blackbird" story is indeed a funny one. PS - Off topic but Blumenthal's liners are generally excellent IMHO - Mosaics especially - it's just in the RVG series that his comments seem pointless, for some reason.

Wow, I have completely missed out on Fruscella so far. Will have to remedy that soon based on the accolades here.

Have to check the RCA stuff out, sounds promising! How's her Bethelehem albums?

Joe G - yeah, Metheny is a real monster with making potentially awkward time signatures sound as easy as falling off a log. LFH has a few oddballs - "5/5/7" is the one I can't quite get together in terms of counting it out, especially the intro. I wonder if he uses the odd meters (probably not consciously, but unconsciously, given his comments to you about thinking "Have You Heard" was straight 4/4!) as a way of balancing his compositions (which are gorgeous but sometimes perilously close to OVERLY sweet and pretty), to give them a sound that is a bit more angular and edgy. Conscious or not, it works.

I would heartily agree with Lon. D'Arby has raw talent that I feel has somehow not been quite delivered upon. If you ever get a chance, check out his 2nd album, NEITHER FISH NOR FLESH, which is quite superior to the first album in my opinion. "Wishing Well" was catchy and all, but the 2nd one is much more inventive as a whole, with a whole slew of influences and a much harder edged feeling. It also certainly has some more very funky, catchy, fun-spirited music, like the classic Atlantic soul-era influenced "I'll Be Alright," the Prince-ish "This Side of Love," and the wickedly-funky "Attracted To You." Not everything quite works out, but it's a good spin. Too bad after that he seems to have kind of petered out.

Looking at the West Coast Pacific Jazz and other labels "mix" box they have upcoming with Cooper/Shank/Brookmeyer, how about a box of miscellaneous Imperial recordings, to include things like Charlie Mariano's release w/Jaki Byard on piano (which is quite excellent), Wingy stuff, and others? I know this bunch would probably be very disparate in approach, so if there's enough maybe do 2 sets, dividing them into "traditional" jazz and "modern" jazz Imperial sessions? A Harry Edison box, pulling together his stuff from Pacific Jazz and Roulette, maybe even a Liberty date that is listed on All Music Guide from 1965 I will definitely second the Pullen/Adams BN sessions as a Select And in fact, an 80's BN/other label miscellaneous box or boxes would be nice - might be a way to get out some of the best/most obscure stuff, like James Newton's 2, Jack Walrath's 2, Bobby Watson's Roulettes or BNs A Hutcherson/Land Select with at least some stuff that hasn't been issued on CD yet would be good, assuming they are not going to eventually do a "full" Mosaic. Great if there was any vault material. Lon et al have me intrigued about the Tyree Glenn Roulettes A miscellaneous late 60's BN box would also be interesting (can't quite get my head around exactly how to name it). This might include a smattering of dates that have long been obscure and sought by diehards and collectors. Represented would be Kenny Cox's (INTRODUCING and MULTIDIRECTION) , Eddie Gale (GHETTO MUSIC and BLACK RHYTHM HAPPENING), and Tyrone Washington (NATURAL ESSENCE and hey, maybe even throw in the TRAIN WRECK SESSION!).

I'm glad to see a Metheny discussion, he doesn't get much on the more die-hard jazz boards. I enjoy pretty much all of his predominant "personalities" for what they are. The early Metheny Group stuff with all the rock influence, the later highly layered, Latin-influenced PMG sound (which I personally feel peaked with STILL LIFE and especially LETTER FROM HOME, the vinyl copy of which I wore down to flat), his more experimental solo excursions (both stripped down, straight ahread, and mega-produced like SECRET STORY), and his "jazz" records - SONG X, QUESTION AND ANSWER and the TRIOS w/Stewart and Johnson. The Penguin Guide guys just shred stuff like SECRET STORY for being so produced, but that's the whole point - he's not setting out to make a blowing record, dudes, catch a clue! I don't think everything works on that album, but it's got some moments of stunning beauty, starting with the opener "Above the Treetops" (it's interesting, I have a Cambodian world music CD issued on Peter Gabriel's realworld label that actually has the chant he utilizes there; Pat slowed it down a bit, making it all the more eerie) as someone justly singled out above. Not the kind of thing I listen to a lot these days, but worth returning to over time. My personal favorite Metheny Group outing is LETTER FROM HOME, which I feel is kind of overlooked. I think STILL LIFE was so great and had such standout key tracks that people view LFH as kind of a "rerun." But Side 1 especially is a seamless masterpiece, one song flowing into the next, the whole thing building to a subtle boil with the stunning "5/5/7." Pet PMG moment: the several bar lead in to ("duh duh duh, duh-duh, duh duh, duh duh, duh-duh...") Pat's solo, and then the actual beginning of Pat's solo, on "Have You Heard." That part where he plays that little boppish phrase and then leaves a brief pause where you can enjoy the tightness of the band and especially Paul Wertico's amazing ride cymbal work before tearing in again...sublime. Maybe not fully sustained on Side 2, but just that first side alone, along with the gorgeous title track, makes LFH a classic in my view. The pop-influenced stuff, like "Beat 70," is no slouch either.

Great news, seeing all that obscure Brookmeyer on the way. Toshiba just reissued IVORY HUNTERS. Maybe we'll see U.S. BN following suit soon.

Yeah, I posted about this in another forum a few days ago (in the Dolphy thread I started in the Artists section), and was then told by another board member apparently we were ALL scooped by Aric Effron, who had posted about it before under some other name! It was certainly a total surprise to me to hear this, but kind of cool because it actually fits the commercial pretty well.

True, although to clarify I was thinking only of the studio sessions, not the large number of live recordings - including those WOULD make it pretty prohibitively big. I haven't done the math for the studio dates, but I can't imagine it would be any bigger than 10-12 CDs which they just did for Billie Holiday. Ah well, probably a pipe dream at any rate, and I won't be holding my breath (or my wallet!) for it, nor passing on these single CD reissues, I can tell you!