The new mono Platinum SHM-CD
Mono Platinum SHM-CD
New Japanese 2 cd version.
A series of Basie on Roulette via the latest cds from Japan which I think sound great.
![[IMG]](http://eil.com/images/main/Count+Basie+Kansas+City+Suite+-+The+Music++447954.jpg)
![[IMG]](http://covers.discorder.com/fullsize/front/4943674213948.jpg)
![[IMG]](http://www.vinyltap.co.uk/media/catalog/product/cache/0/image/500x/9df78eab33525d08d6e5fb8d27136e95/i/m/image_236192_3_1_3_5_8_6_6_10_1_196817.jpg)
Mono Platinum SHM-CD
Unfortunate he was unable to assemble a decent ensemble of sidemen.
Yeah, I don’t see Candy Dulfer on the list.
She’s not able to keep up with the Joneses.
Right now
1 Like
I have the Toshiba-EMI Black Triangle issue of the Somethin’ Else CD. It is nice. I have no idea how it compares to the SHM which I expect to be at least very good.
There are two: an SHM-CD (includes alternate material never released before) which is stereo and this Platinum SHM-CD which is a mono mix and transfer. Both sound better than earlier digital issues (of which there are many!) imo. The stereo SHM-CD is “louder” and a bit less gentle in EQ; the mono is supposedly a flat transfer, does not have compression, and has a very pleasant EQ. It sounds detailed and dynamic. It only features the originally released material.
Mono Platinum SHM-CD
The new Japanese CD version
Another of the new Roulette cds from Japan
All great appearing stuff, but it is all old - the classical music of jazz.
Are there contemporary jazz musicians you find as interesting? Not inoffensive some nice looking young things sings close-mic’d ear candy, but real legitimate creative jazz.
To be honest, not many new artists really appeal to me. Jose James has work that I like. I do try out new persons on occasion. . . but really few snag my interest.
I think much of what is labeled jazz today contains so many other elements fused in that it is something else, but wants to have the ‘prestige’ of the name jazz (which is silly as it’s such a niche market and so hard to make a living from). And it’s just become music that doesn’t appeal to me the way that the classic jazz form does. I hang with jazz from the Original Dixieland Jazz Band and Red Nichols through the swing years and into bebop and into the innovations of Coltrane and the New Thing (especially the more ‘spiritual’) and into some of the electric fusion, especially the first decade. . . but after that much of the jazz is either recreating elements of the past with something vital to intrigue me missing or fused with so many non-jazz elements that they aren’t jazz at core to me. So I listen to the music I first grew to love (electric Miles and his second great quintet and early fusion) and the music that led me to (Ellington, Parker, and then Armstrong, Condon, Bechet, Monk, Pee Wee Russell, the Blue Note stable, and so many more). This music speaks to me, this music I try to play on my instruments, this music I keep learning about. It has the magic for me, and there is so much of it, so much to discover still, so much to reexamine and enjoy. Recent recreations . . . they just don’t offer the same. Recent extensions and explorations beyond. . . also don’t offer the same to me.
A wonderfully articulate response. And probably a good explanation as to why I find exploring older jazz a bit interesting, but am not drawn to newer performances. There is a remarkable amount of older straight-up jazz out there.
A very short list of artists that are still working that I like. Wayne Shorter, Herbie Hancock, Pat Metheney, Holly Cole, Patricia Barber, Branford Marsalis and Gary Burton. Ornette Coleman, recently deceased, gets a little too outside for me. Michael Brecker has left us but I love his work. The sheer genius of the older jazz musicians is mesmerizing to me. Many had little or no “formal” training yet invented a genre of music that requires the musician to have deep knowledge of music theory in order to create on the fly. 