Leeway

That's good news, and kin of what I thought. Odd about the "electronically re-recorded" notice. Then again the whole package is kind of a melange: Liberty jacket; UA vinyl and inner sleeve; stereo issue, etc. I suppose one lesson is to check the dead wax for clues.

I see more jazz groups using the electric bass. Recently, I saw Patricia Barber and Jason Moran in concert. Michael Arnopol plays a weird looking electric stand-up bass for Barber. Moran's bassist, Tarus Mateen, plays what looks like a bass-guitar with the neck cut-off (a sawed-off bass ? ). I was impressed by the range and quality of the sound produced by both bass instruments (as well as the playing of both bassists). I also read an interview, in JT I think, with Sonny Rollins long time bassist, who says that Sonny also prefers the punch that an electric bass gives. So, are there electric bass fans out there? Which do you prefer-acoustic or electric? And do you think the electric bass will come to dominate jazz bass in the future?

The LP that prompted me to post this thread is: "Whitle Stop," by Kenny Dorham. The LP jacket is a Liberty jacket ("Blue Note, A product of Liberty Records"). The album number is given as 84063. On the back panel is the "electronically re-recorded" [ not "re-channeled"] notice in small type in upper-right hand corner. The LP itself, however, is a United Artists issue (so stated), with the blue label and large black letter "b" on the label. In the dead wax is "BN ST 84063." So, is this a "real" stereo issue (perhaps thus the "re-recorded") or a mono that has been re-channeled?

OK, I know that this little notice on an LP jacket is anathema to collectors. And I know that a lot of companies resorted to this in order to move product when stereo caught on. But I still have some questions: 1) What exactly does "electronically re-recorded" mean? What exactly is done to the recording? 2) I know this approaches heresy, but are the results of such tinkering always bad? 3) It seems odd that Blue Note, which made such terrific sounding LPs, would resort to this. How many titles did they do this to? and for what period of time? and who carried out the process? 4) I've heard that in many cases, although the "electronically re-recorded" label was on the LP, nothing had actually been done to the original recording. Is that true in the case of Blue Notes? Hope some other vinyl-philes can answer some of these questions.

I'll drink to that! "Sir, do you prefer your beer with or without a pencil?" Actually, I'd prefer mine without the chin hairs in it! That mug on the top - don't want it

I'd be very interested in that, especially if it has some solid material (not just LP liner rehashes) on The New Thing jazz. It's published by Harvard UP, not necessarily a guarantee of quality, but perhaps an indicator of a more serious or substantial work. Odd to see HUP publishing a jazz book; usually it's Oxford UP that has done the most in this field. Amazon give little information on the book: Amazon BTW, is there anything else out there that covers this area of jazz history? I've heard that Valerie Wilmer's "As Serious As Your Life" is a worthwhile book. Again, Amazon doesn't have much to say about it. URL=http://www.amazon.com/exec/obidos/tg/detail/-/0882081136/qid=1071894108/sr=1-1/ref=sr_1_1/002-0048989-4135233?v=glance&s=books]Amazon Harvard UP site has more: Harvard UP Also: Book reviews

Thanks Chuck. Interesting history there. Do you recall about when the switch was made to NY masters and Wakefield pressings? Or what were some of the LPs pressed at your plant?

As far as BN vinyl goes, I'm pretty happy with any good, clean vinyl that I can get. Of course, I love deep grooves, or early New York pressings. But even the Liberty and many UA-era vinyl re/issues sound pretty good to my ears. However, I've steered clear of Manhattan-Capitol era vinyl (mostly early-to-mid 80s I believe). I believe they have a generally bad reputation for sound quality. Questions: Is this a well-founded perception? And, if so, what is it exactly about the Manhattan-Capitol vinyl that makes it inferior-- the vinyl? the mastering? And, is this the worst of the BN vinyl?

That is true but there are FAR more titles available through Get Back's LP series than there are by Fuel 2000. Do you have a link for Get Back LPs?

Thanks. I have that album on vinyl (was it ever released on CD?), but haven't listened to it in a while. Need to dig it out and give it a listen.

If they only knew, they might rethink that

No, but I'll certainly give them a try on your recommendation. As for Thibaudet, I suppose you know that he has done a Bill Evans album, "Conversations with Bill Evans." I have not heard it, but am interested in doing so. At the least, I think it's a cool idea. Thibaudet also has a complete Satie box set out. How about this for a crossover idea: Evans Plays Satie. (did Evans ever do a Satie piece?) I think that would be a fascinating union of musical minds.

Picked up an LP of "Duke Ellington's Jazz Violin Session," with Ellington on piano, Grappelli and Ray Nance on violin, Svend Asmussen on viola, Ernie Shepard, bass, Sam Woodward, drums. This group is augmented on Side 2 of the LP with Russell Procope, alto, Paul Gonsalves, tenor, Buster Cooper, trombone. Billy Strayhorn sits in on two songs. There is some really tasty playing on this session. I've always liked Ellington's piano playing in small group sessions. The violins and viola give this a different flavor from other small group sessions. Great songs and playing all around. Anyone else have this album?

Clem, you misread my post. The author of the article did not compare Evans to Perahia, Schiff, or Pletnev. I cited them as examples of the sort of figures usually written about in the magazine. I consider it admirable that Evans is viewed by the magazine's editors as of the calibre of such pianists to deserve the same sort of consideration. You obviously have strong opinions about classical pianists; to each his own. As you like Pletnev, there happens to be a gushing, glowing article about him in the same (current) issue as the Evans article. So admiring, that you might even blush. Odd though that they focus on his conducting work with the Russian Natl Orch; my guess is that Pletnev hasn't been wowing critics lately with his solo performances. He seems to be taking the same route as Vladmir Ashkenazy; when you can't play any more, you conduct. I recognize that , for some reason, it has become fashionable in some quarters to knock Perahia, but I think his recent work, especially with ASMF, has been superb. Read the current Gramaphone (yeah, Brits again) for a good article on Perahia. I think Schiff is viewed very well by critics and artists alike; he is a more apt comparison to Evans than most other classical pianists. There are many other fine classical pianists performing today, including Uchida (I think her Schubert is superb), and Brendel (I do like him better in his earlier work for Vox and Vanguard), and many, many others. As for other comparisons between classical and jazz pianists that you cite: why not. Could be interesting!

There's a review of Modernistic in "International Piano" magazine (British-based). This magazine typically focuses on classical piano repetoire and pianists. In the current issue, there is, somewhat surprisingly, a really fine article on Bill Evans, and a fine review of Moran's Modernistic. The reviewer really digs the album. The reviewer appreciates the way that Moran references earlier tradtions, such as stride and bebop, but

There's a wonderful article on Bill Evans in "International Piano" magazine (British-based). This magazine typically focuses on classical piano repetoire and pianists. It's great to see Evans given the same kind of attention as Murray Perahia, Andras Schiff, Mikhail Pletnev, et al. The article is by Andy Hamilton, who also writes for "Jazz Review," so some of you might know of him. Some excerpts: A very thoughtful article and recommended.

I had almost all, but got the Ellington/Armstrong, and the Bud Powell, which I had in the original CD issue. Sweet deal.

Thanks Kevin. That's what I had read somewhere or other about these reissues. Kevin, do you think (or maybe have the word from those in the know B) ) as to whether all the JRVGs will eventually find their way over here? Grey, educate me here. Were the TOCJs Rudy masterings? Some of them? most of them? all of them? I thought they were done by Japanese engineers. I only have a few TOCJs, so am unable to check that. Chuck, I am quite interested in what you can tell us about this. First, has Rudy himself ventured an opinion/evaluation on the subject, i.e.as to whether he considers his RVGs superior tot he JRVGs? Second, as an experienced record producer yourself, what do you not like about the JRVGs? and conversely, like about the RVGs? I have many of both and am generally pretty happy with most of them, so have no strong feelings one way or the other.

Sorry if you don't want my information. I'll go away and not bother you again. Hey Chuck, nothing personal, just that that information is so at variance with what I thought was the case that I admit I remain a little doubtful. As for RVG vs JRVG, that's a subject as split in opinion as Al Gore vs George W. It's about the music, anyway, as you always point out. My initial point: tracking what has been released over the last year or two, and what is planned for release, it appears to me that BN is on a major U.S. re-release campaign that will match what Rudy did in Japan-- whatever remasterings are involved.

First I heard that. ALL of them have been new remasterings? As far as kick ass, I recall the old BNBB RVG thread went on and on about which was better-- or no different at all. Don't care to start that going again. In any case, wait and see- all these titles will eventually get released Stateside.

"Minor Move" doesn't wear out after repeated listening. It doesn't hit your over the head, it doesn't announce "masterpiece" on first listen. But it's a fine album, with some terrific playing, and I never tire of listening to it. The fact that some of this terrific playing is by Lee Morgan complicates things. Lee plays such a strong role on the date that it's hard to keep in mind that Tina is the leader. (Check out Lee's solo halfway through "The Way You Look Tonight. I think Lee is in excellent form throughout). I think that is perhaps Tina's weakness as a leader and maybe limited his career. He doesn't dominate the spotlight, but that is also rather the endearing thing about him. He let's the music itself dominate. The music swings but also has a lyrical quality. I think Tina does a gorgeous job on the oft-recorded "Everything Happens to Me." BTW, does anyone else have reservations about Blakey as Tina's drummer? I feel there is a certain mismatch of styles or approaches.

My sense of it has been that ALL the JRVGs will eventually be released in US versions- no doubt about it. They're sitting out there; the work already done; the costs already absorbed. Why not market them? In the meantime, I'll listen to my vinyl "Hi-Voltage"

My guess is that it's the record companies themselves that provide the cue, identifying albums they are ready to sell at discount to the Club. It's a way for the companies to move stock without obviously cutting the retail price (which has drawbacks for the corporate bean-counters and marketeres).

I'm sure you didn't mean the empty Quote boxes as symbolism, but the're too perfect

Agreed on both counts. In this, Santana reminds me of Van Morrison. Both got off to a great start, then began a long, slow decline, becoming formulaic, repetitious and stale, with only some occasional flashes of their old abilities. OK, what about the REAL musical genius in the Santana family?-- Jorge Santana and his classic "Malo" album Actually, I've heard that Jorge went seriously into jazz- is that true? Haven't heard of him in many years.