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Beiträge
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Oh, wenn das in den Booklets steht ist das ja völlig in Ordnung. Dass auch der Rückgriff auf Originalbänder nicht zwingend zu besseren Reissues führt, wenn diese schlecht gealtert sind, dürfte ja auf der Hand liegen.
Bei den Conn-LPs sind solche Angaben aber nicht auf den Hüllen zu finden, soweit ich weiss?
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #165: Johnny Dyani (1945–1986) - 9.9., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaHighlights von Rolling-Stone.deDie meistunterschätzten Alben aller Zeiten: George Michael – „Patience“
Pearl Jam: Das ist die tragische Geschichte des „Jeremy“-Stars Trevor Wilson
„Der Exorzist“: Ein Schock, von dem sich das Kino nicht erholte
Jimi Hendrix: Der Außerirdische wohnt im Kempinski
Michael Hutchence: Das letzte ROLLING-STONE-Interview vor seinem Tod
Whitney Houston: Der einsame Tod der Pop-Ikone
Werbungtrifft das alles auch auf music on vinyl platten zu?
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AnonymRegistriert seit: 01.01.1970
Beiträge: 0
Lamenttrifft das alles auch auf music on vinyl platten zu?
Music On Vinyl Reissues basieren oft, aber nicht immer auf digitalen Quellen. Das alleine sagt aber auch noch nichts aus.
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Lamentich erwarte in den nächsten tagen die *bill evans trio – waltz for debbie* als 180g, 45upm umschnitt auf doxy/gold note. war total begeistert als ich gesehen habe, dass die platte endlich wieder ein vinyl re-release bekommt. sie ist zwar auf waxtime überall erhältlich, aber über dieses label habe ich nur schlechtes gelesen. u.a. das die cds als master fürs vinyl benutzen.
da das release auf doxy sehr limitiert ist, habe ich direkt zugeschlagen.
kann jemand von euch schon etwas über die qualität sagen? und liege ich mit meiner einschätzung was waxtime angeht richtig?Michael Fremers vernichtendes Fazit zum Thema Doxy (am Beispiel von Gil Evans‘ „Out of the Blue“): „nothing short of disgusting„
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I like to move it, move it Ya like to (move it)Out of the cool
Die Begründung von Michael Frehmer finde ich schon verständlich.
Die alto analogue habe ich behalten. Ich fand die damals (1997) schon besser. Aber das ist subjektiv.
Anlage und Tagesform können da vieles ausmachen.Andererseits ist es einfach so, daß bei schlechter Verfügbarkeit von Originalen/guten reissues bzw. überbordenden Preisen dafür Kompromisse gemacht werden können.
Aber, wie schon mal geschrieben, kann man mit etwas Geduld gerade bei den Riverside- und Prestige-LPs durchaus bei alten OJC- bzw. Japan-Pressungen Erfolg haben.
Bei solchen Platten finde ich dann diese reissue-labels entbehrlich.Gegenbeispiel: SONORAMA.
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Die neuen CAM Jazz Boxen mit Musik von Black Saint und Soul Note:
– Paul Bley (9CD)
– Andrew Cyrille (7CD)
– Art Farmer (6CD)
– Oliver Lake (7CD)
– David Murray (7CD)Zufällig beim Stöbern auf discplus.ch entdeckt – da steht zu denen „erscheint demnächst“, ein Datum wird noch nicht geliefert – anderswo finde ich noch nichts, aber ich freue mich gerade sehr über Bley (und die anderen sehen alle auch fein auch, ja, auch Art Farmer!) – wird das bei Murray schon der Rest sein, nebem dem Oktett-Set, oder gibt es dafür noch zuviel?
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #165: Johnny Dyani (1945–1986) - 9.9., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaSonic JuiceMichael Fremers vernichtendes Fazit zum Thema Doxy (am Beispiel von Gil Evans‘ „Out of the Blue“): „nothing short of disgusting„
ja, dass hatte ich vor ein paar wochen dann auch gelesen. ich muss gestehen, dass ich extrem sauer bin. denn nicht selten werden diese reissues geprisen (wie auch bei fremers erwähnt). gerade von einigen online shops bin ich schwer enttäuscht. ich kann zwar verstehen, dass man platten aus dem eigenen sortiment nicht schlecht reden möchte, aber man muss sie auch nicht über den klee loben. und doxy z.b. wurde/wird stets als sehr gut klingende, makellose pressung usw. bezeichnet.
ich bin zwar niemand der eine *high end* anlage hat oder alles nur audiophile braucht, aber wenn ich schon bereit bin für musik zu bezahlen, erwarte ich auch eine gewisse qualität bzw. will ich nicht mutwillig getäuscht werden.
bin mal meine (eher kleine mit focus auf aktuelle erscheinungen) jazz vinyl sammlung durch gegangen und habe wenigstens nur ein paar wenige scheiben dieser art in meinem besitz (1x get back, 3x jazz track, 3x doxy).
allerdings sehe ich es z.z. eher so, dass es sieben zu viel sind.--
Die vor einer Weile schon mal angekündigte Herbie Hancock Box mit den Columbia-Alben (1972-1988) erscheint nun doch:
Am Ende des zitierten Textes findet sich eine Liste, die sich nicht copy-pasten lässt, in der die Alben alle aufgeführt sind.
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Legacy Announces Herbie Hancock: The Complete Columbia Album Collection 1972-1988
Deluxe box set features all 31 albums (across 34 CDs) released by Columbia Records; Includes first U.S. release of 8 albums which originally appeared on CBS/Sony (Japan)NEW YORK, July 29, 2013 /PRNewswire/ — Herbie Hancock: The Complete Columbia Album Collection 1972-1988 brings together, for the first time, the master musician’s complete Columbia Records and CBS/Sony Japan catalog. The deluxe 34-CD box set arrives in stores November 12, 2013, through Columbia/Legacy, a division of Sony Music Entertainment. Pre-order now at http://smarturl.it/hancock_amzn.
Hancock’s catalog on Columbia and CBS/Sony Japan is a microcosm of musical development in the 1970s and ’80s, and an uncannily accurate forecast of many trends that would follow. Those developments played out over the course of 31 albums. Eight have never been issued in the U.S. (or outside of Japan), three others have never been issued on CD in the U.S. (Sunlight, Magic Windows, Lite Me Up), and some that were issued on CD have been out of print for years. Most importantly, all of them have never been gathered in one box set collection before.
The stunning box set structure is a chest with removable lid, housing 28 single albums and three double-CD albums (for a total of 34 discs). Each album will be packaged in a mini-LP CD cardboard replica of the original jacket, with original artwork including gatefold jackets where applicable.
Accompanying the discs will be a 200-page book, published exclu*sively for this collection. In addition to dozens of rare photographs, the book will contain several sections, starting with a comprehensive 5,500-word historical essay written by Bob Belden. Belden has won three Grammy Awards for his work with Columbia/Legacy on The Miles Davis Series, including album notes (twice) and compilation producer. An accomplished jazz composer, arranger, bandleader, and recording artist in his own right, Belden has served as CD reissue producer at Legacy for the Hancock albums Head Hunters, Sextant, Thrust, The Piano, V.S.O.P.: Live Under the Sky, Future Shock, Sound-System, and Perfect Machine.
The book will also contain individual commentaries on all 31 albums by Hancock discographer/historian Max Schlueter. The third major element of the book is one of the most detailed discographies ever included in a Legacy box set, assembled by box producer Richard Seidel. Included are full musician lineups and instrumentation, recording data (dates, producers, engineers, mixers, studios, etc.), exact original release dates in both the U.S. and Japan, cross references for additional appearances of various songs elsewhere in the box, Billboard chart information, R.I.A.A. certifications, and a short-form discography of Hancock’s solo recording career before and after his Columbia years.
Also included in the book will be sidebars on Hancock as pianist, composer and synthesist, written by Belden. Schlueter has written a sidebar on noted record producer David Rubinson, who produced all but six of the albums in the box set, and is also known for his productions of Santana, Taj Mahal, the Pointer Sisters and the Chambers Brothers. A special sidebar is devoted to Hancock’s late sister Jean Hancock, who contributed lyrics to many of his songs. And another unique feature of the book is a glossary of the more than 60 different electronic instruments played by Hancock and the other musicians over the course of the recordings.
In the stream of modern jazz during the last decades of the 20th century, the imprint left by pianist, keyboardist, synthesist, composer, arranger, producer, and bandleader Herbie Hancock on jazz, fusion, pop music, R&B, disco, hip-hop, electronica and more – including his beloved traditional post-bop – spans generations. (His pioneering use of the Vocoder – precursor to T-Pain’s use of Auto-tune – is just the tip of the iceberg.) His 14 Grammy Awards and one Oscar are emblematic of the Buddhist principles of inclusion and collaboration that course through the ebb and flow of his career.
At the heart of that career are his 16 productive years as a Columbia and CBS/Sony (Japan) recording artist from 1972 to 1988, by far his longest, most prolific association with any record label. Those 16 years encompassed the evolution from the „Mwandishi“ Sextet, to the Head Hunters to the Herbie Hancock Group. The breakthrough of the V.S.O.P. recording and touring groups with Freddie Hubbard, Wayne Shorter, Ron Carter, and Tony Williams ignited the traditional jazz revival of the 1980s. Along with the Herbie Hancock Trio and Quartet lineups, he is also heard on a landmark solo electric keyboard/acoustic piano project in 1974, a full album solo acoustic piano project in 1978, and the memorable duet concert project with Chick Corea (also 1978). And along the way: Hancock’s first digital and direct-disc records in Japan; his MTV-pioneering downtown New York „Rockit“ breakthrough with Bill Laswell and Material; and the Death Wish and Oscar-winning Round Midnight original motion picture soundtracks.
Of special note in this collection are the eight albums that were released only in Japan, and are released now in the U.S. for the first time. They are comprised of acoustic and electric, studio and live recordings, and several of them were notable for their deployment of advanced audio technologies in early development in Japan, such as digital recording and direct-to-disc.
Each of the eight CBS/Sony Japan albums was a unique addition to his disco*graphy: Dedication (solo, both acoustic and electric, live in the studio, without overdubs, 1974); Flood (the Head Hunters Band live, 1975); The Herbie Hancock Trio (with Carter and Williams, studio, 1977, one of only two piano-trio records Hancock has ever made, along with the 1981 set below); Tempest In The Colosseum (V.S.O.P. with Hubbard, Shorter, Carter, and Williams, live, 1977); Directstep (full band, studio, direct-to-disc, 1978); Five Stars (same V.S.O.P. lineup, their only studio album, direct-to-disc, 1979); Butterfly (full electric band with singer Kimiko Kasai, studio, 1979); and Herbie Hancock Trio With Ron Carter + Tony Williams (studio, 1981).
Aside from those eight albums, there were two albums recorded and released in Japan, which were subsequently issued in 2004 by Columbia/Legacy for the first time on CD in the U.S. (both with bonus tracks): The Piano (solo, acoustic piano, direct-to-disc, 1978, recorded one week after Directstep); and V.S.O.P. / Live Under The Sky (1979).
Because of its proliferation of live concert albums, The Complete Columbia Album Collection 1972-1988 allows the perspective of hearing and contrasting many songs (originals as well as jazz standards) in multiple versions. For example, „Watermelon Man“ (Hancock’s first „hit“ record for Mongo Santamaria back in 1963), was re-grooved by the Head Hunters on their self-titled 1973 LP, the lineup that included Bennie Maupin (reeds), bassist Paul Jackson, drummer Harvey Mason, and percussionist Bill Summers. Compare it to the live concert version on Flood (CBS/Sony Japan) two summers later in Tokyo, when guitarist Blackbyrd McKnight was on-board, and Mason had been replaced by Mike Clark. Similarly, studio and live versions of „Chameleon“ are also heard on both albums, respectively.
Throughout this collection, in addition to „Watermelon Man“ and „Chameleon,“ there are multiple versions or re-imagined, updated versions to be discovered of „Maiden Voyage,“ „Canteloupe Island,“ „Dolphin Dance,“ „Eye Of The Hurricane,“ „Speak Like A Child,“ „Tell Me A Bedtime Story,“ „Butterfly,“ „Sunlight,“ „I Thought It Was You,“ „Hang Up Your Hang Ups,“ „Rockit,“ and others.
A unique personality in jazz history, Hancock has been as musically controversial as his mentor Miles Davis – with whom he played in the „second great quintet“ from 1963 to ’68 (with Wayne Shorter, Ron Carter, and Tony Williams). Throughout that period, Hancock maintained a presence recording LPs under his own name as a leader on Blue Note Records. He also lent his talent to Blue Note sessions led by Lee Morgan, Freddie Hubbard, Wayne Shorter, Donald Byrd, Kenny Dorham, Grant Green, Bobby Hutcherson, Stanley Turrentine, Tony Williams, and Jackie McLean, to name a few.
When Hancock left Miles in 1968, he carved out one of the most diverse careers ever encountered in jazz or pop. He satisfied both the artistic and the commercial sides of his craft with acoustic and electric music made in the studio and on tour, music that often transcended categorization. Recording 31 albums in 16 years averages two per year – but there were years when he released as many as four albums in one year’s time (1977). Fully half the albums in this box set collection made the Billboard Top 200 albums chart, most of those reaching the Top 100, a rare achievement for a jazz musician.
Along the way, countless names passed through the tidal wave of music Hancock created: Eddie Henderson, Buster Williams and Billy Hart in the „Mwandishi“ era; Bennie Maupin from the „Mwandishi“ era through most of the 1970s; Hubbard and Shorter as perennial members of V.S.O.P. (with Carter and Williams); plus (to name a few) Wah Wah Watson, Ray Parker Jr. (of „Ghostbusters“ fame), Jaco Pastorius, synthesist Patrick Gleeson, Carlos Santana, Alphonse Mouzon, Sheila E., the Brothers Johnson, Adrian Belew, Rod Temperton of Heatwave and „Thriller“ renown, Narada Michael Walden, and, in the quartet in the summer of 1981, 19-year old Wynton Marsalis.
In the „Rockit“ period when Hancock worked with Bill Laswell and Material, collaborators included Michael Beinhorn, Bernard Fowler, turntablist Grand Mixer D.ST, Anton Fier, Nicky Skopelitis, Bootsy Collins, Leroy ‚Sugarfoot‘ Bonner, and Ghanaian kora player Foday Musa Suso, with whom Hancock recorded an entire duet album later in 1984. On the Round Midnight sound*track recorded in 1985, in addition to Carter, Williams and Shorter, players included Bobby McFerrin, Dexter Gordon, John McLaughlin, Chet Baker, Bobby Hutcherson, Lonette McKee, Cedar Walton, and Billy Higgins.
Herbie Hancock: The Complete Columbia Album Collection 1972-1988 was produced for reissue by Grammy®-winning producer Richard Seidel. Seidel’s box set credits for Legacy include the four most recent Miles Davis box sets, all of which won several awards and polls around the world, among them the 70CD + DVD The Complete Miles Davis Columbia Album Collection (2009) and this year’s Miles Davis Live In Europe 1969, The Bootleg Series Vol. 2. Since 2011, Seidel has also produced for Legacy sixteen other Complete Album Collections including titles by Thelonious Monk, Charles Mingus, Weather Report, The Mahavishnu Orchestra, Return To Forever, The Brecker Brothers, Wayne Shorter, Stan Getz, Paul Desmond, Nina Simone, Sarah Vaughan, and Etta James, as well as the Grammy®-nominated To Be Free: The Nina Simone Story box set (2008).
Herbie Hancock: The Complete Columbia Album Collection 1972-1988 was mastered to 24/96 at Battery Studios by Mark Wilder (who has won multiple Grammy Awards for Best Historical Album box sets on Columbia/Legacy by Miles Davis & Gil Evans, Louis Armstrong, and Billie Holiday) and Maria Triana.
„Taken in its entirety,“ writes Belden, „The Complete Columbia Album Collection 1972-1988 gives the listener and reader a glimpse into the internal philosophy of life of Herbie Hancock contained in these CDs. Rarely does a collection of sound contain so much of a human being’s revelatory process. Within these CDs you can listen to a musician reinvent himself time and time again, all at his terms.“
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #165: Johnny Dyani (1945–1986) - 9.9., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbagypsy tail windAm Ende des zitierten Textes findet sich eine Liste, die sich nicht copy-pasten lässt, in der die Alben alle aufgeführt sind.
01. Sextant
02. Head Hunters
03. Dedication
04. Thrust
05. Death Wish original soundtrack
06. Flood (double LP = 1 CD)
07. Man-Child
08. Secrets
09. V.S.O.P. (2 CDs)
10. The Herbie Hancock Trio
11. V.S.O.P. / The Quintet (double LP = 1 CD)
12. V.S.O.P. The Quintet: Tempest In The Colosseum (double LP = 1 CD)
13. An Evening With Herbie Hancock & Chick Corea In Concert (2 CDs)
14. Sunlight
15. Feets Don’t Fail Me Now
16. Directstep
17. The Piano (plus 2004 CD bonus tracks)
18. V.S.O.P. The Quintet: Live Under The Sky (2 CDs) (plus 2004 CD bonus tracks)
19. V.S.O.P. The Quintet: Five Stars
20. Kimiko Kasai w/ Herbie Hancock: Butterfly
21. Monster
22. Mr. Hands
23. Magic Windows
24. Herbie Hancock Trio With Ron Carter + Tony Williams
25. Quartet (double LP = 1 CD)
26. Lite Me Up
27. Future Shock (plus bonus track)
28. Sound-System (plus bonus track)
29. Herbie Hancock And Foday Musa Suso: Village Life
30. Round Midnight Original Soundtrack
31. Perfect Machine (plus bonus tracks)--
Hey man, why don't we make a tune... just playin' the melody, not play the solos...Danke! Ich habe tatsächlich nur sechs oder sieben von all den Alben – darunter die drei wichtigsten (Sextant, Headhunters, Thrust) … keine Ahnung, ob man das alles braucht, zudem scheint die Box im oberen Preis-Segment zu liegen zu kommen (amazon.com gibt derzeit den Preis als 220$ an, Veröffentlichungsdatum Anfang November) – aber verlockend ist das auf alle Fälle!
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #165: Johnny Dyani (1945–1986) - 9.9., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaNochmal zu den nächsten CAM-Boxen:
Ein 11-CD-Set von Giorgio Gaslini wird auf amazon.fr nun ebenfalls angekündigt … könnte toll sein, aber wenn ich auf der CAM Jazz-Seite eine Suche nach Gaslini mache, finde ich auch ohne die vier Intégrale Doppel-CDs (die sind toll!) mehr als 11 Alben (von denen ich die wichtigsten wohl eh schon habe … das Ayler-Album ist sehr gut, das Monk-Album noch besser!) … ich schätze mal, die elf dürften aus den folgenden dreizehn gewählt sein:
Ballets, Lampi, Plays Monk, Mister O, Enigma, Plays Sun Ra, Multipli, Urban Griot, La Notte/Fonte Fonda Suite, Ayler’s Wings, Schumann Reflections, Cantos, Sacred Concert/Jazz Te Deum.
Es fehlt also das Album mit Keshavan Maslak – deppert!
Fehlt „Burnt Offering“, das andere Duo-Album mit Lyons – noch depperter!
Sweet Lovely, Morning Song, I Want to Talk About You, The Hill, A Sanctuary Within, Body and Soul, Windward Passages
(wo bleiben: Children, Interboogieology, die beiden Live-Alben aus dem Sweet Basil und das Duo mit Randy Weston? folgt da noch Vol. 3? wäre schön!)Die beiden anderen sind wie erwartet (da gibt es, wenn ich nicht irre, jeweils so viele Alben, wie die Boxen CDs enthalten):
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #165: Johnny Dyani (1945–1986) - 9.9., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaIch mag Art Farmer recht gerne der spielt einen soliden Swing. Mir fehlen immer noch ein paar Boxen.
Bin begeistert von Herbie Hancock, habe die meisten Alben nicht, dass ist was für Weihnachten.
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alexischickeIch mag Art Farmer recht gerne der spielt einen soliden Swing. Mir fehlen immer noch ein paar Boxen.
Die Farmer-Box dürfte als Ganzes nicht enttäuschen. Die Contemporary-Alben sind wohl das Feinste vom späten Farmer (Something to Live For, Blame It On My Youth und Ph.D.), aber die Soul Note-Aufnahmen sind soweit ich sie schon gehört habe ebenfalls ziemlich gut!
alexischickeBin begeistert von Herbie Hancock, habe die meisten Alben nicht, dass ist was für Weihnachten.
Kennst Du denn Hancocks elektrische Alben? Da das Set im oberen Preissegment zu liegen kommen scheint, bin ich selbst etwas zurückaltender … denn von den elektrischen Sachen sind wohl einige nicht sehr gut, um es mal nett zu sagen. Klar, die ersten paar sind grossartig, aber danach? Und die akustischen aus den Achtzigern sind wohl auch kaum essentiell zu nennen. Aber gerne hören würde ich das alles auf jeden Fall. Mal schauen, wie das mit dem Preis sich noch entwickelt.
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #165: Johnny Dyani (1945–1986) - 9.9., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaCHARLES GAYLE / WILLIAM PARKER / RASHIED ALI – Touchin‘ On Trane wurde gerade beim deutschen Label Jazzwerkstatt auf Vinyl veröffentlicht.
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God told me to do it.Sehr schön! Hast Du eine Bezugsquelle?
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