Leeway

That's probably because they're digital Just kidding Wolff, let us know how they sound, and I do hope you enjoy them.

Carmell Jones Select, DIsc One- it's all good, and exceptional sound too.

Sorry Dmitry, bit I can't agree with you. I do not think digital LPs sound better than CDs, especially if the CD is one of the more recent 20 bit or 24 bit CDs. Digital vinyl still strikes me as an oxymoron. I'll pick up a digital LP only if the MUSIC (wassup Chuck ) s otherwise unavailable. BTW, the title of this thread is Mosaic LP sets, digital or vinyl? - seems to me the topic is pretty clear stated, and the posts are on-point.

CRAP!! Is this the sound of the high bidder for the Larry Young Mosaic on EBAY?

If I remember right , blue is mono and black is stereo. Thanks, that makes sense. BTW, re: Rolling Stones mono. That "December's Children" sounds tasty. I just picked up a mono copy of the Stones "Got Live If You Want It," not the most artistic Stones effort, but raw and energized and in the moment. I'm looking forward to giving it a good spin. I also picked up a copy of The Animals "Animization," which I'm really pleased to find. This is the US version. It is also a mono copy. I'm not sure I agree with you about the Stones needing a George Martin type. I really admire what George Martin did for the Beatles, but I'm afraid that a Martin type would take the raw quality out of the early Stones music. It's the seemingly unproduced quality of their music that captures me. This starts to disappear later on I think. The Stones did have someone who appeared on the early albums in a vaguely defined role - Jack Nitzsche. Anyone know about this guy? Stones, Animals, Zeppelin--I expect a rave-up Friday! Hey, I thought this was a JAZZ forum..... :rsly:

"Cannoball Adderley Quintet Plus"- with Wynton Kelly on piano. Riverside RLP 388, MONO. This is another Bill Grauer Production, produced by Orrin Keepnews, recording engineer Ray Fowler. Vivid sound. This copy has a blue label with silver lettering. I seem to recall most of these Riversides have a black label. Can anybody enlighten me on the labelography for Riverside? The jacket of this copy says Riverside Records, 235 W. 46th Street, New York.

Hey Bill, was that you? Thanks for the vinyl You seem to have a terribly important BN collection if you can't find 1/4 inch of shelf space for these two LPs. But your loss is someone esle's gain -"newbie" or not.

Oh man, that's UGLY news No reason to pay big bucks on EBAY for these bad puppies; might as well buy the CDs!

As they say, just because you're paranoid doesn't mean you're not being followed! Anyway, I share your concern about LPs being produced from digital transfers rather than pure analogue. Something has to account for the often thinner sound on recent reissues compared to original pressings (or even original label reissues). A lot of time you will see LPs being hyped for being 180 gram vinyl, while nothing is said about their source or mastering. That's why I prefer, whenever possible, to grub about for an original, even if in less than pristine condition, rather than going the reissue route.

OH YEAH! : The immediacy and visceral force of the recording just hits you. You won't get that from some MP3!

First I had to rock out a bit, so I spun some early stereo pressings of The Rolling Stones "Aftermath," and Led Zeppelin's "Houses of the Holy." Oh man, that sounded good. Some great guitar work by Keith Richards and Jimmy Page, and I have always liked the edge that Brian Jones brought to the Stones. Then some jazz. Sahib Shihab, "Jazz Sahib," with Bennie Golson, Phil Woods, Hank Jones, Oscar Pettiford, Bill Evans, Paul Chambers, Art Taylor. A 1957 session, on a 1984 SJ Records reissue. Good sound. Some fine baritone work from Shihab. Eddie Cleanhead Vinson, "You Can't Make Love Alone," featuring Larry Coryell, Mega Records, Flying Dutchman, Bob Thiele producer. A June 1971 live performance at Montreux. Fun stuff and Vinson can play a robust alto. John Lewis, "A Milanese Story," Atlantic 1388, with Bobby Jaspar on flute and tenor, and Rene Thomas on guitar, and a fine arco bass player, Jozsef Paradi. Very atmospheric. This one grows on you.

Is it a question of the mastering? Or is it the quality of the vinyl? I seem to recall from somewhere or other that the way vinyl is made had to be changed since the 50s and 60s, due to manufacturing related health reasons. Is that true? Would that have an effect on the sound quality? Is there some component lacking in current vinyl? The other thought that keeps bugging me is that all I know of the Classic record making process is what the company tells us (or maybe, more accurately, hypes to us). How do we know that all this supposedly laborious analog-crafting activity is what it's cracked up to be? Maybe I'm just getting paranoid in my old age, but why should I believe Classic when I can't believe the President Anyway, I usually will not buy a reissue unless the original or some adequate early issue (such as BN's Liberty or even UA era) is simply not available. There is invariably a noticeable difference between early vinyl and current vinyl.

I have the Prestige box. I wouldn't rate it quite as highly as the Blue Note material (although close enough) but I still consider it essential, and certainly a must for anyone interested in Monk. I would also add that the sound quality on this set is particularly good, right up there with the remastered RVG "Genius" Vols. 1 and 2.

Where does the dude get all that good stuff? Regarding the Japanese import LPs, I have no idea what all that writing on the OBI says? Does anyone here know, for example, what the OBI on the Minor Move LP says? For all I know, it says, "pure digital master copy"! B-) Edited for the usual typo!

For me, in order of appreciation: GO OUR MAN IN PARIS ON FLIGHT UP DOIN ALLRIGHT DEXTER CALLING BUT they are ALLl da--n TERRIFIC!

Stopped at the local used CD store and picked up a couple of titles from teh West Coast Classic Series: Bud Shank, Bob Cooper, "Blowin' Country," and Bob Brookemeyer, "Traditionalism Revisited." I think these both made their way onto Mosaic Selects, but I wanted to get them in their West Coast Classic editions. I also got Greg Osby's "Symbols of Light"- I've been on a serious Osby kick lately. I've read this isn't one of his better efforts, but I thought it was worth a venture, especially at the price. Also, Herbie Nichols Trio, "Love, Gloom, Cash, Love," which I had not seen before. Great title. I have Nichols Blue Note work, so this makes a nice addition.

I didn't know there WAS anything else-- seemed like that sort of thing kept the band fully occupied On a more serious note, I'm not sure of any other book-length treatment; perhaps the best place to look would be Reader's Guide to Periodicals, for magazine pieces about the band. Also, back issues of Rolling Stone magazine, or one of those books that consist of Rolling Stone commissioned essays, such as "Rolling Stone History of Rock and Roll." I saw Zep back in very late 60s or early 70s. If memory serves (and it often doesn't), it was at the New York State Pavilion, at Flushing Meadow Park, in New York City. They were not top of the bill at that time. Either the Doors, Jose Feliciano, or The Chambers Brothers! If anyone can check that, I would appreciate it. I do remember the strong impact the band made.

Yep, it was on Turner. I watched the end of Rear Window then the one after it, although I missed the beginning and didn't see the name. He was a clerk in a store and had a letter-writing romance with a woman. He later found out who she was and it was one of the women he worked with. It was also a Christmas movie so there was lenty of good feeling all around. Stewart was very young in it. The film was Ernst Lubitsch's The Shop Around the Corner. I started watching it after watching Rear Window, and fell asleep about a half an hour into it. I have to try and get younger so I can stay up. Thanks! The premise of "The Shop Around the Corner" received its most recent update as "You Got Mail," with Tom Hanks, and, I believe, Meg Ryan. I can accept Stewart in most roles but not that of a Hungarian shopkeeper, not with that twangy, drawly American manner of speaking. For those who can, the film, by Ernst Lubitsch, is considered something of a classic. Anyway, back to the vinyl....

The odd and sad part is that I can no longer recall in detail just how I got to Org. I seem to recall that, as the old BNBB was painfully sinking, someone or some few, mentioned this site. Could that have been the case, or is my memory playing tricks on me? It's also possible that I might have picked up a link through AAJ. I must be having an extended senior moment Obviously I didn't get over here in the vanguard, but I was surprised to find that I was one of the first 100 to register; somehow I thought I was more of a latecomer. I know I'm not in the top bracket of posters, but I take this site very seriously indeed. As to why I came here and why I stay: it's the passion for jazz and the passion for Blue Note that brought me here, to a community of like-minded souls. Even though I have only met a few members, many of you feel as real to me (or more so) from your posts than the folks I work with every day. There is a palpable feeling of community on this board, even when disagreements run deep and views differ. There is a tremendous amount of musical expertise here, and an abundance of personalities

Yeah, I know, although the vinyl and jacket come from two Blue Note eras rather far apart. You can't always tell a record by its cover/jacket

Which Jimmy Stewart movie? Turner Classic Movies channel had an all-day (yesterday) Jimmy Stewart festival. I watched "Destry Rides Again," and Hitchcock's "Rope" and "Rear Window" (which may very well be Hitch's masterpiece). I passed on watching "Vertigo," due to lack of time, plus I have seen it several times only recently. Interesting how well Hitch was able to use Stewart, and how well Stewart was able to adapt to Hitch's quirly little world. As for vinyl, I pulled out a copy of Byrd' "At the Half Note Cafe" Vol. 1, BST 84060. The odd thing about this copy is that the pressing is a Liberty United Artist pressing, "RVG Stereo" stamped in the dead wax, but the jacket has the Blue Note, 43 West 61st, New York 23, address. I am wondering if the vinyl and the jacket were "married" by some collector, or did UA have some old jackets around and simply used them for its later pressing? Such cases should also make one beware of buying "sealed" BN copies, especially of earlier titles, as it is often the case that the vinyl is a later pressing than the jacket would indicate. Unscrupulous EBAYERS simply seal the LPs themselves, suggesting that you are bidding on an early pressing, thus garnering higher prices. In my case, I paid only $5.00 for the Byrd copy I have, bought at a local sale. Sound is quite fine.

Toshiba DVD- bought at Costco for about $50 on sale.

Phil, I hope the problem is indeed solved, but, from experience, I suspect that your laser is on the blink (so to speak) and, in time, will stop functioning completely. These problems usually do not progress linearly; but in phases. It usually costs about $125-150 to perform a repair for this type of problem.

Yusef Lateef- "Cry! Tenderly"- New Jazz/Prestige, Bergenfield pressing, RVG was the recording engineer, but I didn't find the sonics particularly impressive. Lateef, working with a group of his Detroit buddies, spends most of the album apparently attempting to show that the OBOE is a jazz instrument (and almost pulls it off). Once again the liner notes talk about Lateef's "Asian" and "eastern sound- which in my view was mostly superficial, but it got Lateef quite a bit of hype. This record demonstrates lateef's virtues and vices, pretty much intertwined. For example, he was a wonderful tenor when he wanted to be, but could while away the time playing oboe. OTOH, it IS kind of cool to see what an oboe could do in a jazz context. McCoy Tyner- "Time for Tyner"- with Bobby Hutcherson- Blue Note, later UA pressing. I love Hutcherson. He is almost as prominent on this LP as Tyner. Weather Report- "8:30" - Columbia - live performance. I'm still trying to like Weather Report. Maybe it's Zawinul's Wagnerian approach to jazz that puts me off. Don't know, will keep listening until I do. Walter Davis Jr- "Davis Cup"- classic Blue Note hard bop. An upbeat way to round out some listening.

Has anyone head Percy's new album. "A Love Song," which I understand is Percy's first album as a leader. Would like to get some reactions to it.