Leeway

Well, he made a lot of really fine albums, but there were some more dubious efforts. This could be one of them: Generally, I'm not enthralled with much of his post-Blue Note work.

Biggest problem with XRCD?-- Price Twice the price of the K2 remasters, which rival them for audio quality.

Thanks for all the feedback. I suppose I will wait for the RVG, since it's on the schedule. But in the meantime, I'll try to score a vinyl copy

Is there some reason why none of these folks (or their friends) have not taken a good swing at Stanley? I mean, one good slap deserves another.

Noticed this one featured on the Blue Note web site. I have a lot of Grant Green, but this one has flown under my radar. Fine lineup of musicians, though I know nothing of the tambourine player (BTW, has there ever been another musician given credit for the tambourine on any pre-1975 Blue Note album?). Anyway, would welcome comments on this particular Grant Green album. Blue Note web page Grant Green

COOL B) Wolff, looks like you are having a tie-dyed, counterculture time warp. I've also been digging on the Beatles lately (I think I mentioned this in an earlier post), especially, the earlier Beatles stuff: Beatles for Sale, Help!, Revolver, Rubber Soul. As for Hendrix, I was lucky enough to see him way back when at th Fillmore East- electrical !

Hey Brandon, only in DC for a few weeks and already scooping up the good LPs BTW, I've become a Jack Wilson fan and have the Conn of "Something Personal," which I like a lot. Roy Ayers is on vibes.

Thanks, got that, but was/am looking for something more specific as to what was done, if possible.

Just got through listening to my vinyl copies of NIGHT OF THE COOKERS, Vol. 1 and 2 (Liberty pressing). I originally characterized the playing as "frenetic," and I think if you listen to the last 5 minues or so of "Walkin'," you might see what I mean. (That cut should have been called, "Runnin' "). However, upon re-listening, I'm developing a more favorable impression of NOTC. There is a lot of fine playing here. This is a high-energy, non-stop blowing session, hurricane-force. It's like stepping into a party that has been going on for a while. This can be disconcerting to the listener; you have to be in the right mood for this one. This is also something of a cutting contest. The original liner notes (are they on the CD reissue?) points out that, except for Big Black and Lee Morgan, the other players were Hubbard's regular working group. With Morgan stepping on the bandstand, the two trumpeters, especially Hubbard, occcasionally like to demonstrate how many notes and how fast they can play. But it's all done in that party-hardy mode. I would hardly call this session " a turd," or a session that doesn't cook- no way. This is a musicians jamfest, and it should be approached in that fashion. OK, a few of questions: I know Club La Marchal was in Brooklyn, but does anyone know exactly where, or at least what section of Brooklyn it was in? Has anyone ever been there? Also, my album cover says "re-recorded and mastered" by Rudy Van Gelder. What does "re-recorded" mean? Orville O'Brien is credited with the recording. Who is he? And the liner notes mention "Jest Us," "a group of young women devoted to the promotion of jazz. While their husbands (Freddie Hubbard, Cedar Walton, Bobby Timmons, etc) are star performers and mainstays in the jazz field, these women have participate dunselfishly in promoting this art form which is often taken for granted. It is valid to say that "Jest Us" are as much to be thanked for this album as are the artists themselves." Does anyone know about "Jest Us"? And what did thay have to do with this session taking place?

Ray's thoughts on sound make sense to me. If you can make it sound good on cheap equipment (which is usually the most commonly owned equipment), it should sound that much better on top end equipment, right? (OK, this doesn't always work out in practice). This is the opposite of what some audiophile companies seem to do- their product is designed for high-end equipment, and often enough, the results don't satisfy. The BNs, Riversides, Prestige, et al, records of the 50s and 60s were probably most often played on fairly primitive "record players." Yet even now, their analog sound still can knock your socks off- even when they weren't trying for that effect. I was also thinking of the information cited in the threads above about Grauer and Keepnews. Maybe from Keepnew's viewpoint, seeing all those albums going out marked "Bill Grauer Production," might have motivated him to start his own personal PR campaign to highlight his own work with the label.

When I described the music as "frenetic," I guess I heard more "ragged edge" than "exciting." I do agree that it is hardly dull. I want to give this another listen. I can do that as I recently picked up original Vols I and 2 on vinyl. This is an album that seems to come and go and come back again in people's collections

Hey, that's it!! I just noticed, in the dead wax, "DMM", the dreaded 'direct metal master'. That may explain the sound being iffy. To continue in a Hawkins vein, I'm playing Swingville 4001 "Things Ain't What They Used To Be". It's an original double Lp that combines TAWTUTB and "Years Ago". Dvorak Cello Concerto/Piatigorsky/Munch/BSO Rivers: Contours(too dark to see if it has 'ear' ) Donald Byrd: Royal Flush (too dark to see if it has 'ear' ) Love the trumpet/baritone contrasts...Hopr this doen't piss anyone off, but for a white boy Pepper Adams could find the groove. That's what they said about Dvorak too!

On a less serious note, "Temple of Bacchus" has to be one of the coolest venue names I've seen in a while.

The relationship between AAJ and Organissimo remidns me of the description of the relationship between England and America: two countries separated by a common language

I never do OK, now I'm getting DOZENS, it's overwhelming my e-mail account . Yipes! How do I turn it off now?

Another suggestion: go to a jazz club or concert. Seeing and hearing the music performed live is energizing. For myself, I occasionally get away from jazz for a while, and listen to classical music or even some rock (boomer stuff, Beatles, Stones, Byrds, Buffalo Springfield, etc). This sort of cross-pollination gets the ears perked up. Anyway, hope you get your groove back

Is that the one based on the Rega P2? I took the plunge in Jan this year due entirely to this forum and got a Rega P3 , i've not looked back, I love the sound of vinyl, the feel. I'll be upgrading the tone arm/ rca cabling later this year but for now it's sublime. Sadly it makes my CD player seem uninviting.... bit of snag given the number of CDs I have... I have had a Rega P3 for several years. It will make anyone a vinylphile. I really, really like it I know that some audiophiles have replaced the tonearm, but, frankly, I don't know why you would do that with a P3, as the RB 300 is a terrific arm. Indeed, it appears in various guises on more expensive TTs. BTW, do you have the P3 in "basic black"? I do, and sort of regret it. I should have bought the blue one!

Sundog, what audio equipment are you thinking of buying with that $$$ ?

That seems like a heckuva system if you're right. You would think the run of boxes to be shipped is in some kind of order, numerical seemingly the most sensible. What point would there be in grabbing boxes from all over stock? Next thing we'll find out is that they write any old number in the booklet just for the helluva it. Wouldn't they HAVE to have the boxes in sequence to ensure the numbering is correct? It seems that when one of the box sets in "Last Chance," reports on the Mosaic thread usually indicate that buyers are, in fact, getting boxes in close numerical order.

I think it was a pretty good buy. However, with the individual vinyl issues, you get the original cover art, in "full size," which is kind of cool. Of course, that's always a potential "drawback" (if such) with Mosaic sets, but it seems more apropos with vinyl. Also, I do prefer the original vinyl to the reissue vinyl.

Why upgrade the CDs then? On a mediocre stereo (or worse) the audio differences will most likely not be noticeable at all. The money spent replacing the same music could go to buying new music (or upgrading your stereo so that CD upgrades would make a noticeable difference). $5,000 should buy a pretty nice system, if not "great." Am wondering what the problem is with your system that, having invested a good bit of money in it, you prefer the Bose boombox (which alone costs about $500 if I recall correctly). I don't mean any of this in a hostile manner, just can't really sort out the conflicting ideas in your post.

Jazzbo, any 1 or 2 particular HEP CD titles to start with?

Didn't realize you were right in the neighborhood! Looking forward to meeting you.

Wolff, if i ever stop off at your place, I'm heading for the fried chicken first, then the music (LPs first), then the audio kit I agree with you. I don't see why it's either/or when it comes to music and audio. In both areas, balance and a just appreciation of things are the key. I remember reading how Ralph Ellison, who was a devoted adherent of jazz and has written beautifully on the music, stretched his meager writer's budget in order to have an excellent stereo on which to play the music he loved. He felt the MUSIC deserved it. I feel the same way.

I never do