Hot Pressings
- Thread starter garylkoh
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Sometimes, someone comes up to you and tells you to "impress me". What the heck is that? A music system shows subtlety, emotion and feeling. But when dynamics is called for - drums are usually the answer.
The most impressive drumming might be Japanese Taiko performance - originally festival folk-art elevated to an art form. The most impressive band to perform is Ondekoza - members whom reside and play together in a lifestyle where the principle is "running and drumming as one". In their US debut, the group ran the Boston Marathon, ran up on stage and performed their set. When they did their concert tour of China, they ran from city to city - running the 12,500 km on foot.
This album was recorded and pressed by JVC. Extremely rare, but an excellent record of their work.
The most impressive drumming might be Japanese Taiko performance - originally festival folk-art elevated to an art form. The most impressive band to perform is Ondekoza - members whom reside and play together in a lifestyle where the principle is "running and drumming as one". In their US debut, the group ran the Boston Marathon, ran up on stage and performed their set. When they did their concert tour of China, they ran from city to city - running the 12,500 km on foot.
This album was recorded and pressed by JVC. Extremely rare, but an excellent record of their work.
The problem of recording jazz is a vexed one. The sterile atmosphere of the recording studio inhibits performance. What's more - and this problem particularly annoyed the great Oscar Peterson - the engineers normally like to spread the trio out to assure optimum stereo separation.
The trouble is that this creates an acoustical lag within the group. If the pianist is too far from the bassist, both of them have to guess when the other's rhythm is falling. This split second can kill the swing of jazz.
In the attempt to overcome the disadvantages of studio recording, Oscar has recorded in nightclubs - only to find some of the best moments of music were spoiled by the clink of glasses or some other extraneous noise.
In this album, the problem was solved: a private performance for a select group of appreciators and friends in a private, relaxed, pleasant, party atmosphere at the home of Hans Georg Brunner-Schwer.
This is the way that Oscar Peterson really plays.
(from the liner notes by Gene Lees)
This album is as "unimpressive" as the previous one I posted was impressive. You don't notice the music at all - time disappears and you get so swept away that the next thing you notice is the turntable going click-click-click in the run-out groove.
An essential live performance for fans of Oscar Peterson, and jazz in general.
The trouble is that this creates an acoustical lag within the group. If the pianist is too far from the bassist, both of them have to guess when the other's rhythm is falling. This split second can kill the swing of jazz.
In the attempt to overcome the disadvantages of studio recording, Oscar has recorded in nightclubs - only to find some of the best moments of music were spoiled by the clink of glasses or some other extraneous noise.
In this album, the problem was solved: a private performance for a select group of appreciators and friends in a private, relaxed, pleasant, party atmosphere at the home of Hans Georg Brunner-Schwer.
This is the way that Oscar Peterson really plays.
(from the liner notes by Gene Lees)
This album is as "unimpressive" as the previous one I posted was impressive. You don't notice the music at all - time disappears and you get so swept away that the next thing you notice is the turntable going click-click-click in the run-out groove.
An essential live performance for fans of Oscar Peterson, and jazz in general.
One of my favorite classical recordings is the "Stereo Spectacular" that is the Charles Munch/Boston Symphony performance of Camille Saint Saens Symphony No 3 in C Minor (also called the Organ Symphony). It is a popular audiophile recording because of the magnificence of both the high- and the micro-dynamics - resulting in a dramatic and enjoyable time.
This particular recording is a technological tour-de-force demonstrating the art of recording. To achieve an optimum soundstage with spectacular imaging, the orchestra left their usual seats and was spread out all over the front half and full width of the Boston Symphony Hall!! Where the audience would normally sit.
The great Symphony Hall organ was separately mic'ed. This resulted in a rather strange soundstage if you have loudspeakers capable of accurately portraying height information. The orchestra was unusually low - like they were playing in a huge pit - with the massed violins far on the left front (and down), the right front had the violas, cellos and basses. Right in the extreme back left, you hear the piano. The woodwinds were spread out all over the center back, overlapping the strings left and right.
On top of this all, overlaid the organ. When the 32Hz note first comes in towards the 2nd third of the first movement, it sounds like a tsunami washing over the orchestra. Quite unexpected, and if you are used to hearing this particular piece 'live' it sounds a little strange.
However, audiophiles will assure you that it sounds spectacular
I have many pressings of this. The first original pressing (1S/1S stampers) would cost you dearly. I also have a 9S/9S that is inferior to the first. The Classic Records Quiex re-issue is excellent and is an easily available, affordable alternative.
In digital, the SACD (ripped to music server) is as good as the Classic Records re-issue to my ears. This is a 3-channel SACD that also has a stereo track. Make sure you are playing the stereo track or it will sound hollow and lifeless.
But no matter which pressing, it is a performance I enjoy tremendously. One I've sat through many, many times.
This particular recording is a technological tour-de-force demonstrating the art of recording. To achieve an optimum soundstage with spectacular imaging, the orchestra left their usual seats and was spread out all over the front half and full width of the Boston Symphony Hall!! Where the audience would normally sit.
The great Symphony Hall organ was separately mic'ed. This resulted in a rather strange soundstage if you have loudspeakers capable of accurately portraying height information. The orchestra was unusually low - like they were playing in a huge pit - with the massed violins far on the left front (and down), the right front had the violas, cellos and basses. Right in the extreme back left, you hear the piano. The woodwinds were spread out all over the center back, overlapping the strings left and right.
On top of this all, overlaid the organ. When the 32Hz note first comes in towards the 2nd third of the first movement, it sounds like a tsunami washing over the orchestra. Quite unexpected, and if you are used to hearing this particular piece 'live' it sounds a little strange.
However, audiophiles will assure you that it sounds spectacular
I have many pressings of this. The first original pressing (1S/1S stampers) would cost you dearly. I also have a 9S/9S that is inferior to the first. The Classic Records Quiex re-issue is excellent and is an easily available, affordable alternative.
In digital, the SACD (ripped to music server) is as good as the Classic Records re-issue to my ears. This is a 3-channel SACD that also has a stereo track. Make sure you are playing the stereo track or it will sound hollow and lifeless.
But no matter which pressing, it is a performance I enjoy tremendously. One I've sat through many, many times.
Munch's saint-saens 3rd organ sym is a good one. my only quibble is some muddiness in the lowest bass/pedal stops. every copy ive owned was this way so me thinks its on the tape. the granddaddy in my collection is fremaux's with the Birmingham sym orch. on EMI. its been on HPs list for years and reissued by klavier on 180g vinyl. the 1st press black/silver label EMI smokes the klavier - its a stunning record and among the most sought after EMIs. for RBCD the eugene ormandy/michael murray with the Philadelphia orch on Telarc gets played often.
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I thought that Munch's 3rd smoked the Fremaux for the organ power on the lowest notes..... that may be because my 1st press Munch is in much better shape than my 1st press Fremaux. I didn't hear any muddiness - I thought that it had one of the cleanest low pedal notes of all my organ recordings. The SACD in particular is spectacular.
When I was a kid, I loved the Pink Panther cartoons - and often imitated his strange gait. Hence, the theme song by Henry Mancini was a tune that has stuck in my head for as long as I can remember.
When Record Store Day 2014 rolled around on April 16th, it was not only Henry Mancini's 90th birthday, the 50th Anniversary edition of the Pink Panther OST was also released. I had to get a copy. Pressed on pink vinyl, it sounds fabulous - quiet backgrounds and very dynamic. Whomever did the mastering did a great job.
You can get clean, original 1st pressings for less than $10 - but hey, I needed the pink one.
When Record Store Day 2014 rolled around on April 16th, it was not only Henry Mancini's 90th birthday, the 50th Anniversary edition of the Pink Panther OST was also released. I had to get a copy. Pressed on pink vinyl, it sounds fabulous - quiet backgrounds and very dynamic. Whomever did the mastering did a great job.
You can get clean, original 1st pressings for less than $10 - but hey, I needed the pink one.
i like the Munch, i like the fremaux more then again i don't have access to the genesis 1.2s
today i own the orig Munch, i don't own the classic reissue, ill take your word on that comparo. the SACD may reveal the true bass quality of the munch against all vinyl variants until chad or someone attempts a 45 rpm release
i like the Munch, i like the fremaux more then again i don't have access to the genesis 1.2s
Yeah - that's one 45 rpm release that I'd buy.
I just got a sealed box set of the Classic one-sided 45 rpm of the Gounod/Faust today. Haven't opened it yet
Considering that I have a first press, as well as the original Classic 180gm pressing, I don't know if I want to unseal it - considering how much the box set is going for...... and mine is still sealed.
Yeah - that's one 45 rpm release that I'd buy.
I just got a sealed box set of the Classic one-sided 45 rpm of the Gounod/Faust today. Haven't opened it yet
Considering that I have a first press, as well as the original Classic 180gm pressing, I don't know if I want to unseal it - considering how much the box set is going for...... and mine is still sealed.
Ha ha..... so did I!
If you want an album that tests your bottom end, try this Argo. But obviously look for the circle label.
http://www.ebay.ca/itm/Psalms-of-Co...91098614057?pt=UK_Records&hash=item43c6d45929
Superb percussion to show off your system - Dave Brubeck " Time Further Out", side 2.
Played it for Jazzhead a few days back. Perhaps he will chime in with his comments
Played it for Jazzhead a few days back. Perhaps he will chime in with his comments
Now available on vinyl - Record Store Day 2014 limited edition. They didn't have a copy at my local store, but they were available on Amazon. I posted it yesterday on Facebook, and coincidentally Amazon sold out by the afternoon.
Haha! Good one. Only 600 copies were made of the red/black vinyl and 400 copies of the blue/black vinyl. I bought two copies of each color.
I enjoy it a LOT more than the RBCD. It took just the first few seconds of The Sun Road for me to go and buy more copies. The cymbal work by Bozzio is just so much clearer it's insane. I thought that the RBCD was already very good - the vinyl is far better all round.
This is the red vinyl. I'm still waiting for my blue copies to come from Germany.
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