Riccardo Chailly - Beethoven Symphonies on Decca

During the first 20 years of the CD era, it became almost an entitlement or a rite for every conductor to record a Beethoven symphony cycle - whether they had anything unique to offer or not. This glut of Beethoven symphony cycles has devalued the singular achievements of truly great Beethoven interpreters, and the fact that there are some very definitive cycles reaching back to the pre-digital era makes the need for another cycle dubious at best. We have seen rather needless cycles still get recorded - and there is never any difficulty finding a good set of Beethoven in the used stores for cheap.

So we have yet again another Beethoven symphony cycle, this one from Riccardo Chailly and the Gewandhausorchester - who previously recorded a very fine cycle with Kurt Masur on Phillips. Why is this one worthy of attention?

The reason is in the tempos. Not since Toscanini has a conductor really tried to follow Beethoven's tempo and dynamic markings to the letter. In the decades since Toscanini, we have had period instrument versions of varying success - Norrington, who gave great timbral and dynamic insight - but was fairly conservative on tempos, Gardiner, who gave a compelling cycle, and others. My opinion is that there has yet to be a truly great original instruments cycle.

And there are Beethoven cycles that are near perfect - Karajan's early 60's Berlin cycle still is a benchmark, Kempe's 1970's cycle is wonderfully played and given straight up, musical readings, Krips' Everest cycle is to me a better 'old school' one than Walter. In fact, the latter seems to be the genesis of the problem in Beethoven interpretation - Walter's widely disseminated Columbia Orchestra cycle was the epitome of the old school view - and as such, so much just plain wrong performing tradition sprung up from it, conductors have had decades of difficulty getting back to the true Beethoven. Maybe it is here with Chailly.

Yes, the tempos are fast - very fast, right up to Beethoven's metronome markings. More striking are the dynamics - very wide, sharp, crisp, almost brutal. Some may find some element of humor or lightness missing, or find these readings rigid, which they tend to be. However, they are very exciting in how driven they are - and it is highly likely that this is very much how Beethoven would have conducted them. In a sense, this is period instrument performance on modern instruments, however, we hear many instances where particularly in the valves (and even in the bowing) where an authentic approach has been taken.

So overall, without attempting to dissect individual movements, this is a cycle that indeed does have a very unique point of view, something very new and engaging to offer. the sound is superb, the Liepzig acoustic has been well captured - and in of itself brings a further air of 'period' authenticity to the recordings. The word 'cycle' really has meaning here - this is a true cycle, played and meant to be heard as a whole that shed a new light of Beethoven's symphonies when listened to as a cycle.

There could be no more appropriate tribute to the true Beethoven than a recorded cycle as this coming from Liepzig, with which Beethoven had such great affinity. A highly, highly recommended recording.

The completed Bruckner 9 - Simon Rattle

Bruckner's 9th has always eluded me - it is a torso, with undeniably beautiful music, but lacks both a sense of finality, of closing the argument, and a sense that the three completed movements almost certainly would have been significantly altered by Bruckner before coming to a 'definitive' text.  There have been attempts to complete the 9th, since Bruckner had actually composed and orchestrated a significant portion before his death.

But still, problems remain. What Bruckner left did not reach the coda or finale, except in sketches. And just because Bruckner laid out sketches or fragments, means little in terms of how Bruckner would ultimately have finished the 4th movement - sketches are working drafts. Bruckner worked on the finale up until the day of his death - he worked on it, in fact, all morning before dying around 3 in that afternoon.

There have been previous attempts at the 4th movement, most notably Carrigan's, which has taken those orchestrated, completed sections and fairly liberally completed and added to the fragments and sketches. This latest version can be more considered an 'arrangement' of those fragments and sketches based on analysis of the through orchestrated sections, out of the finale's 653 bars, 440 are pure Bruckner, 117 have been extrapolated from Bruckner sketches and fragments, and a further 96 are new material filling gaps to complete the work. Where controversy will inevitably enter the discussion is that last 96 - Carrigan put in significantly more material, and his vision of the sketches differs significantly.

Perhaps the only way to look at this is whether it actually forms a cohesive movement and represents what ultimately would have been Bruckner's final musical thoughts on this planet.

First out, Rattle and the BPO are given a truly fine live recording, slightly congested in the bottom end and on climaxes due to Philharmonie acoustics,  and are entirely convincing in the familiar 3 movement torso. Not as fast as Schuricht, but just as dramatic, somewhat dark and stormy vision entirely convincing as a representation of the turbulence of Bruckner's last days, as he reached out beyond to a God and afterlife he deeply believed in.

But I expect most will look to this recording for the 4th movement. Listened to on its own, it is highly musically appropriate - thoroughly Brucknerian, thoroughly idiomatic, as it should be - it's pretty much all Bruckner. Controversy compared to the Carrigan version will come from the build up to the coda primarily - but we have to look at how the movement works as a whole, and here it does, resolving to a grand climax as the heavens open up.

I don't care to be a musicologist in there matters - only in what I have to hear in front of me. Rattle is not a natural in the Germanic repertoire, but does a great service here that exceeds my expectations in the traditional torso and blazes ahead with a convincing finale. Very worthwhile, and highly recommended.

The latest round of Music Matters Blue Note vinyl arrives:

Just got in a fabulous box of Music Matters Blue Note 45 rpm vinyl to get caught up on. If you haven't been keeping up, now is the time, having listened to 7 new MM BN's over the last two days, which is a very interesting and enlightening way to do it, I can only say that sonically this series has never been better, in fact, it has never been this good (and it always has been superb). Not only that, the selection of titles has reached a peak, all these are true classics representing in each case something unique to Blue Note and at the same time a musical milestone.

Stanley Turrentine's "Look Out" is a record I have had for decades but rarely pulled off the shelf. But Music Matters have shone a light on this session and made it essential - not only Turrentine's tone, here magnificently represented in all it's tall, deep, widely thrown glory (check out the lame sound Hoffman gave Turrentine on the Analogue Productions "Up At Mintons Vol. 1" and them come back to "Look Out" for the truth) - the blues shouts, the deep honks, the slides, the shimmys, the soul - all here. But what struck me the most as I listened was just what a great drummer Al Harewood was - and what a solid swing he brings. The cymbal sound achieved here for Harewood is just so damn soulful - and swinging. George Tucker I always thought of as a capable journeyman, and maybe that's what he was. But he is just such a solid, powerful swinging force here. That's what makes this such a classic session - the swing of an outstanding rhythm section, underappreciated - until you here them on this reissue.

 Jackie McLean's "One Step Beyond" is another inspired choice. Once again, the sound is the best Music Matters - or anyone - has obtained for Jackie. I have previously written about the MM "Swing Swang Swingin", feeling that excellent though the sound is, McLean's tone wasn't quite truthful - it didn't entirely sound like his alto, and some high midrange was sucked out (by some EQ consultant no doubt). McLean just simply sings here - right out front, thrown way out of the speakers, that tart beautiful tone sitting right in front, so close I could touch it. But this session is more than that. It brought Tony Williams into the studio for the first time, and man, is he ever awesome here - just listen to his cymbal sound! It has never been so realistic, and I had never heard just how detailed and varied his cymbal sound was. Grachan Moncur is a monster here - a huge, enveloping sound, one that now can be seen to be so deep in the swing tradition - it all makes sense now, Moncur can now be heard as a deep traditionalist tonally while reaching for a new harmonic freedom. Of course, by now it must be accepted that only Music Matters have been able to get the warmly metallic, percussive, singing sound of Bobby Hutcherson's vibes right - awesome.

This is a hard bop session, yet a turning point - it reaches out and touches the 'new thing' without McLean abandoning where he came from. As such, it is iconic and unique.

Dexter Gordon had recorded quite a bit for Blue Note before "Our Man In Paris", and from my perspective, other BN-Dexter records are better. But Ron and Joe have again made a beautiful choice here in reissuing this title. Our Man In Paris is seminal in the Blue Note canon for several reasons. First - it is the only title Music Matters have reissued to date not recorded by Rudy Van Gelder. Second - it is a rare encounter between Dexter and Bud Powell, and even more rare - one where Bud is 'all there'. Third - the great French bassist Pierre Michelot's only appearance on Blue Note, and one of the few by the legendary Kenny Clarke.

Sonically, this is a real treat - not RVG sound, and Music Matters have done an amazing job with what I am guessing are very good master tapes. Bud's piano sound is wonderful, and unlike the RVG piano sound. Same goes for the rocking, swinging Michelot - the bass sound is powerful, full of wood. So sonically, this is very unique to both MM and BN - and an excellent session by a band never to meet again.

Obviously, Ron had the challenge in assembling this package of session photos - since this was a Paris recording, there are obviously no Francis Wolff session photos. In their place (and likely not without a lot of detective work to source) are two wonderful photos I have never seen before - a period appropriate shot of Lion, Dexter and Van Gelder together, and another of a rather charming Dexter in Paris. A fabulous job, and an unexpected highlight of the series.

 Speaking of photos, the ones inside Lee Morgan's "The Procrastinator", a session from July 1967 show that RVG must have kept the air conditioning at near Arctic levels - everyone is wearing either a heavy wool jacket, or (in the cases of Bobby Hutcherson, Ron Carter and Billy Higgins) a heavy wool sweater! Morgan even appears from the photos to have had to change shirts during the session - obviously, these cats were so hot that day they needed some cooling down!

The music smokes. Ron Cater is on bass, and truthfully RVG never really caught Carter properly - but here, MM have made it right, Carter is just so powerfully symmetrical and locks in with Hancock and Higgins, now we hear his wonderful tone and how much his fingers contributed to his sound. Higgins also could be problematic for RVG - his cymbals are often a sizzling, ear bleeding blur during this era, but again, it's all right here, there is a clarity and detail to Higgins' cymbal work that has not been appreciated until heard here. I also never before appreciated just how Higgins could drop bombs - and keep on swinging.

Morgan - Hutcherson - Shorter out front, Ron Carter in a rare Blue Note appearance, even more rare - Carter and Higgins together., amazing, a classic date, singular in the Blue Note catalog, and every tune is just smoking hot.

Notwithstanding a typo in the liner notes, the session photo of Lee Morgan clearly shows the dent in his forehead from an encounter with a radiator while a junkie. Magnificent attention to detail.

Speaking of attention to detail, check out the cover of Wayne Shorter's "Adam's Apple" - the inner photos show Shorter playing a Conn tenor on that one, which he only played for a short time - he started with a Martin tenor, moved to a Selmer Balanced Action, then to the Conn 10M, then ultimately to a Selmer MkVI - all the way through with his usual Otto Link 11* mouthpiece. Checking the Adam's Apple original front cover - I had never noticed before - there it is, the Conn 10M. That accounts for the sound on that Music Matters that blew me away - the bigger, darker tenor sound. That's the 10M sound. Music Matters got it right, and it never has been that right for the last 40 some years.

 Bobby Hutcherson's "Happenings" not only sports an iconic cover, it is one of Hutcherson's finest dates, an advanced modal hard bop quartet with Hancock - and the ideal Hutcherson companion, Joe Chambers on drums, anchored by Bob Cranshaw. Again here, Music Matters have 'got' Hutcherson's sound just perfect, the warm, metallic vibes float above, and dart in and out of Hancock's exceptionally well structured and inventive dialogs. Chambers' sound has to be heard to be believed.

Don't hesitate on this one - Hutcherson was rarely heard in a quartet setting, and this is just exceptional.

 Blue Mitchell's "The Thing To Do" may seem an odd choice. Here we have the Horace Silver front line of the day, Mitchell and Junior Cook, By this point Cook had grown tremendously as a player, but the real reason this is such an essential record is the appearance of Chick Corea on Blue Note for the first time, and in a straight ahead bop quintet at that. Not to be under-estimated is the first appearance on Blue Note of Al Foster either. Often dismissed as a second tier hard bop record, Music Matters bring "The Thing To Do" into the front ranks of Blue Note - a smoking hot date, Cook is on fire, Mitchell is challenged by Corea (and Foster) to produce his best work. A great choice and the sound is exemplary.

Finally, another seminal Blue Note date from Freddie Hubbard, essential for a number of reasons - not only the Coltrane band of the day (Elvin, McCoy, and the master Art Davis on bass making a rare Blue Note appearance) - but the presence of Bernard McKinney on euphonium. McKinney gives a whole different voicing to the sextet, and Music Matters have captured the unique euphonium sound perfectly, showing it as a very singular foil to Hubbard and Shorter as a solo voice. The compositions on this record are near standrads in their perfection. This record was the first, in my view, that really showed a fully developed, unique voice from Hubbard. It remains one of his finest moments.

As usual, the RTI pressings are excellent (barring some disturbing popping on side 2 of Ready For Freddie that my usual cleaning regimen could not resolve), and the packaging of the usual highest standard.

Thing about this series - it is not just the warhorses, it doesn't play to the gallery, it produces true iconic and essential records that each have a unique place in Blue Note history and form the most complete picture of the depth Blue Note produced in their prime - and as such, it can only be considered the finest reissue series ever produced. Here are a bunch of titles that demand consideration.

PAUL McCARTNEY "Ram" mono vinyl reissue:

 Got my mono Paul McCartney "Ram" yesterday, without the angst of price checking and obsessive shipping status drama. Always loved Ram - maybe more than any other Macca solo record.

First up - I have been reading on the usual misinformation sites speculation, and outright false claims that this mono vinyl is from a needledrop. Well, that is just pure crap. First - Ram in mono was never commercially available in mono. So there really are very few 'originals' to take a vinyl rip from. Second - it doesn't take golden ears to hear that this could not possibly be a vinyl rip. Even a cursory listen makes that obvious.

I won't go through the differences between the mono and stereo here - there is lots of minutiae on that elsewhere online. The mixes are overall quite different, more than I expected, most notable on a cursory listen is the stronger bass and overall 'dryer' sound, less echo applied particularly on voices. Some longer fades, some details differ.

My pressing is serviceable, needed a good cleaning with Nitty Gritty First Rv to get the paper sleeve debris off - and the First RV noticeable cleaned up the sound, which is really very impressive, bearing in mind that this mono mix needs to be played reasonably loud to really shine. I like the cover, which suits the 'unreleased' status of the mono record.

On the whole, I enjoyed it tremendously and recommend it without reservation. It is not a 'first choice' Ram - clearly, this is a record intended as a stereo release. It is no mono Sgt. Pepper, but has many merits and as a record I love, it is an interesting way to make its reaquaintance.

PHIL COLLINS "But Seriously" on gold Audio Fidelity CD:

I admit that I have never until now owned, or heard, Phil Collins' "But Seriously" I got off the train at "No Jacket Required" and never looked back.

So I can't compare to other pressings, and actually, I come to the record as a first encounter - fresh, no reference points. That from my perspective is a huge advantage.

Actually, hearing it fresh, for the first time, I was surprised as just how good a record this is. It is far more cohesive than any of the earlier Phil records. It lacks the 'big' numbers of those records, and in truth I consider the 'hits' from But Seriously to actually be the weakest tracks. It grows quite quickly. While his two records prior to this had a lot going for them, and some undeniably great 'hit' tracks, this record seems to have more staying power. It's not all on the surface as "No Jacket Required" is for the most part.

The sound here - remastered by Stephen Marsh, with EQ consulting and sprinkling of the facial powder from his man-bag by Steve Hoffman, is very fine. Remembering that this is an early digital recording, it has a very natural sound, strong warm bass, highs shaved ever so slightly, very transparent 'reach out and touch' tactile sound. Excellent job. The problem with early digital wasn't the PCM recorders - it was the playback DACs and the mastering chain. Bringing many of those early digital jobs back to life with modern equipment can yield significant benefits, and that shows here.

I would now say that this is Phil Collins finest achievement outside of Genesis, and his last great record before he got into Michael Bolton territory. Highly recommended.

New ECM: Ketil Bjornstad - Vinding's Music

New on ECM, the great pianist Ketil Bjornstad with Vinding's Music - Songs From The Alder Thicket, an unusual concept as it is ostensibly a songtrack to a series of books written by Bjornstad. The first disc is a set of solo piano pieces, the second, a compilation of newly recorded classical pieces.

The first disc is of primary interest. This is contemporary improvised classically tinged 'jazz', using the latter term in the broadest sense, as this is not 'swing' in the traditional sense, although Bjornstad has a strong sense of inner rhythm. The pieces are simply magnificent, elegiac poems, programmatic in some sense, mighty and reflective, noble and inspiring. Not at all ECM style new age shit, perhaps akin to some of Jarrett's later solo recordings, with a stronger lyric sense, a stronger romanticism.

A brilliant set of music from an outstanding artist. ECM give Bjornstad a fine, dry, transparent recording that is an honest and faithful representation of his piano tone.

Highly, highly recommended. This must be among the very best solo piano recordings to come along in many years.

The second disc featuring classical pieces - both solo and orchestral - will not supplant versions that may be in anyone's collections already, but more than holds its own and is a welcome companion to the main event.

If you are unfamiliar with Ketil Bjornstad, also check out "Remembrance", a trio recording with the burnished tenor of Tore Brunborg and drummer Jon Christiansen. Outstanding.

Esbjorn Svensson EST - "301" vinyl LP:

Esbjorn Svensson passed tragically in a 2008 scuba diving accident, shortly after completing his last record "Leucocyte". Recorded before that highly experimental, metal-jazz record, "301" comes as a likely final statement from an artist that had an amazing future in front of him.

301, unlike Leucocyte, is almost entirely acoustic trio with occasional electronics added - but this is no fusion or electro-jazz record - Svensson is firmly in the 1970's Euro esthetic that formed his playing - Duke Jordan is here, so is Joachim Kuhn, so is Jarrett. But so is Radiohead, and much like Brad Mehldau, Svensson has a boundary-less melting pot of influences, where 'genre' has little meaning. At it's heart, this is an acoustic European jazz trio of outstanding musicianship, a working group that has a rapport and interplay that only comes from experience. The vibe is very subdued, dark - a classicism, elegaic. A fitting resting place for a great artist cut down in his prime.

The double vinyl pressing is excellent - quiet, flat. Sounds very good. There is rather little Svensson on vinyl - only Leucocyte was releaaed on LP, and good luck finding a copy. Get this one while you can.

PELICAN - Ataraxia/Taraxis on Southern Lords vinyl:

The mighty Pelican return on Southern Lords with "Ataraxia/Taraxis", ostensibly an EP of new material but in the day this would for many be considered an LP. Whatever, it is bargain priced (I paid $12 for mine) which is a bonus.

Pelican are too often lumped n with the darker side of the metal genre, in fact, they are an art rock/art metal band - all instrumental - with space rock tendencies as the view is rather 'transportative' and 'atmospheric', influences as far as My Bloody Valentine and through to Mahavishnu come together to form a very unique sound.

Ataraxia/Taraxis is far from riffing or noodling, nor is it drone type metal. Pelican have become highly melodic, conjuring what can only be described as metallic soundscapes and inner journeys. Guitars drift in and out of solos, there is tension and even menace underneath, crunch and feedback come in and release into a gentle space.

Sonically, as expected from Southern Lords, this vinyl is excellent. It has heft and delicacy. Pressings is perfectly fine. The cover is very thick old-style cardboard. This is without a doubt triple stoner music, outstandingly crafted, and comes with a very high recommendation to any with a sense of the unexpected who enjoy music as a transportation device.

Dot Hacker "Inhibition" on ORG vinyl:

New from ORG Music: Dot Hacker debut LP "Inhibition" on 180g vinyl.

A king of alt-rock 'supergroup' with the biggest name being Josh Klinghoffer from Red Hot Chili Peppers, a band which Dot Hacker actually share virtually no similarity with.Dot Hacker is hard to describe - a bit shoegazer, very alt, reminds in places of bands like Ride, quite understated, guitar driven, taken to interesting textural shifts. Klinghoffer as a vocalist is singular, his high, light voice suits the vibe here very well, and the songwriting is excellent - not 'hook' driven songs, not poppish, more through composed, well structured songs.

A 'grower', it bears repeated listening, the musicianship is very fine, this is a band to watch.

Recording is excellent, as is the fine Bernie Grundman mastering. A touch light on the bass, and I would think this is an artistic decision that gives the music a lightness and ethereal quality. Enigmatic for sure, hard to pin down, and that makes the record interesting and unique. A great debut courtesy of ORG Music.

NEW MOFI: Elvis Costello "Almost Blue", Bob Dylan "Basement Tapes":

 New from MOFI this week - vinyl pressings of Elvis Costello "Almost Blue" and Bob Dylan and The Band "The Basement Tapes".

Straight up - I was ok, but not overwhelmed, by some of the Mobile Fidelity vinyl so far. My Aim Is True sounds fabulous, and the others do also, but from "This Years Model" through "Get Happy" I felt the sound was too polite - too smooth - lacked the rock. The hard edge that the prime period Costello needs to have. In truth, I felt my Japanese Radar copy of Get Happy walked all over the MOFI - even though it is cut at 33 and the MOFI at 45.

But "Almost Blue" is a much different story. And I suspect it has much to do with the return of Krieg Wunderlich to the mastering credits.

The sound is everything one comes to expect from MOFI - deeply transparent and revealing, vocals crystal clear and out front surrounded by air in a realistic space, bass tight and beautifully clear, harmonically and rhythmically organic sound - warm, detailed, open, real.

If you have felt something was missing, or not all together right about previous MOFI Costello, don't be put off from getting this one. It's the best Costello yet from MOFI - and if "Imperial Bedroom" is this good, I hope it gets out soon.

Same thing with Dylan and The Band's Basement Tapes. Let's look at this realistically - they really are 'basement recordings', rather primitive, probably not intended for release (and got released largely because of how widely they were bootlegged), minimal ability to do a great mix...and so on. So what you get sonically is a mixed bag - on some tracks, the bass is weak, on others, the mix less than ideal. But again here, we have Wunderlich doing some magic on the master tapes - he achieves a huge upgrade in clarity, voices in particular coming through with superb definition and clarity. There is really nothing 'primitive' or dated here sonically - MOFI gives this a brilliant transparency, while retaining the rootsy and spontaneous feel of the recordings. A superb job here, that demonstrates that superbly engaging sound can be obtained from even rather limited sources. The Basement Tapes have never sounded this immediate - and this good. Highly recommended.

Both very good, clean, quiet RTI pressings. A welcome return for Krieg Wunderlich.

More Japanese Toshiba-EMI Classical SACD's:

Got some more of those great sounding Japanese SACD's from Toshiba EM:

Mahler Symphony 9 - Barbirolli
Sibelius - Finlandia, eyc. - Barbirolli
Chopin Piano Concertos - Samson Francois, Fremaux
Faure Nocturnes - Heidsieck
Holst The Planets - Boult
Chpon Etudes - Samson Francois
Chopin Nocturnes - Samson Francois

Overall, my opinion hasn't changed - they sound fabulous. Very immediate. Smooth, non-fatiguing. Detailed. Lots of depth and air, wonderful transparency. Tonality is excellent - vibrant, colorful. String tone in particular is shimmering yet non fatiguing - no digititis on display here. Sure, there has been judicious use of noise reduction - I emphasize, judicious. Well judged. The music is all here, better than ever (and by the way, I listen to redbook only - never bought into SACD as a format, even though I suppose I could listen to the SACD layer if I could be bothered hooking my OPPO to my stereo).

The Mahler 9 by Barbirolli is a true classic, and essential performance. Not just because Barbirolli rarely recorded with the Berlin Philharmonic - but because the reading is absolutely riveting, edge of the seat riveting. A rather driven, intense account, all the more glorious as the BPO play their hearts out. The 1960's BPO was Karajan's machine, and Barbirolli makes no attempt to change that vibratoless sound, the sound where the bow seems to never touch the string. Barbirolli uses that sound to give a bloom to the dark drama of the reading. Sonically, it's all here on this reissue. Absolutely essential.

Barbirolli was an outstanding Sibelian, and in fact no one would play Sibelius this way today. Finlandia, the warhorse, is much more rough hewn, the brass puncy, the reading less a theme for the climax of Die Hard 2 than to a Nordic myth. Aside from an excellent Karelia suite that eschews sentimentality, Pohjola's Daughter is the other major work, and again, Barbirolli is unique in conjuring a Nordic atmosphere and mythology without any overt romanticism. Lemminkainen's Return is just as good. An essential Sibelius selection.

Holst's The Planets has many competing versions, but Boult's late version, his Indian Summer reading, has much to recommend it. It is superbly played by the LPO, and Boult sees it not at all as a sci-fi epic, but as a continuity of the English orchestral tradition from Elgar, through Bax and Vaughan Williams. The sound is first rate, completely competitive with even the best modern recordings, appropriately as Boult's recording was in the day considered a sonic spectacular.

An inspired choice is a double disc set of Faure's Nocturnes played by Eric Heidsieck. A long forgotten name, Toshiba-EMI have done a great service by reissuing this set, recorded in 1960 and 1962. The playing is totally inside the idiom of late 19th century French music, straddling the birth of impressionism. Heidsieck plays it without sentimentality, as a set of tone poems for piano, and this is simply a classic reading. Not to be missed. Natural piano tonality, a realistic acoustic, little to betray the age of the tapes.

Samson Francois was both a distinguished Chopin interpreter, but also a great interpreter of French classics - Debussy, Ravel, and others. His Chopin Nocturnes are essential. This double set of 60's recordings is to many still the benchmark of Chopin interpretation. Sounds better than ever. Not so much so Francois' Etudes, which were started in 1950's mono and ended in 1960's stereo. Here, particularly on the mono, I felt the sound was limiting, dry, less involving. No doubt this has to do with the master tapes, and sonically the later stereo etudes are very good. As a set, though, and at the price, this is a tougher one to recommend. The Piano Concertos with Fremaux conducting are given excellent performances, particularly by Francois, however I felt that Fremaux's conducting has not aged as well over the years. The sound here is fine, but overall there are better options available.

Paul Simon "Graceland" 2012 vinyl reissue:

Talk about an odd choice for a 180g vinyl reissue! Paul Simon's "Graceland" is SO easy to find in the used bins, for dirt cheap. But I admit - I did not have a copy, either LP or CD, and I also have to admit that I never got on to this record when it came out. I guess I was just in a different space - or more likely was in that period where money for records was tight, and I focused on the further 'out there' records.

So this is actually my first encounter with Graceland. I can't imagine it sounding better. The RTI pressing is a good one - clean, quiet, flat. Good day at RTI. Sound is full, detailed, no artificial sweetening, very dynamic and punchy, rhythmically organic, obviously a true analog transfer.

For a record I never had much taste for, this reissue really brings it to life, and it has such richness and diversity that it really becomes timeless. A great reissue (and the poster included is a nice touch) that is highly recommended.

Esperanza Spalding "Junjo" on vinyl:

Just picked up a copy of Esperanza Spalding's less known first LP, "Junjo" on vinyl. Spanish pressing - needed a cleanup, but overall nice and quiet. I don't know if I am 'into' Spaldings other two more recent records. But this one I am.

It is a trip record, with Spalding's magnificent bass out front, very flamenco, wonderfully Mediterranean in feel, jazz, the joy of a young artist making here first recorded statement, without major label pressure or expectations. As such, this may be the most distilled and pure expression of Spalding's talents. She is an amazing bass player with a tone and dexterity with an endless imagination. She sings too - wordlessly, generally, and that takes the music to a whole new place.

Fantastic record. Mastered well for vinyl. A minor masterpiece. I hope Spalding gets back to this, which I am sure she will in some way over what will be a stellar career.

The Hoffman Forums strike again - killing the music, one Ram at a time:

The great Steve Hoffman Forum does it's level best to kill the music, once again:

http://www.stevehoffman.tv/forums/showthread.php?t=283986&page=25

Here is one of those astonishing, mind numbing threads about the upcoming Paul McCartney "Ram" reissue. 25 pages long and going strong, the reissue has not been seen, heard, or released yet, but there is no shortage of opinions on this thread, and almost all of them are solely about how to kill the music industry for good.

Yup, when you get right down to it, that's what it's about. Let's break it down into components:

1. Amazon preorder pricing:

This is very typical at the Hoffman vanity board - endless discussion of Amazon pre-order pricing, placing an order to 'reserve' a super low price, cancelling to go somewhere else with an even lower price, complaining about Amazon and whether it will have it in stock on release date to fulfill all those super low price orders - basically, Hoffman's site is now the latest audiophile PriceCheck site with these so-called music fans 'sharing' lowest price info constantly, looking for their fix at prices that basically are at or below wholesale or in fact, with free shipping, effectively have no margin or even a loss.

Only a short time ago, Hoffmanites were complaining daily as brick & mortar stores died one by one - yet not a single one of them stopped to think that they are the problem! Of course physical stores collapsed. With customers like these, swapping price points and coupon offers like a bunch of old housewives, there was no money left to keep those stores going. It takes profits to keep retailers alive - and these people at the Hoffman board are hell bent on making sure that music can only be sold with practically no margin in it at all.

2. The endless, brain cell killing shipping updates:

They have commoditized the CD business, totally.  And then they have the temerity to start up endless threads to give all the other lemmings regular 'shipping updates' - like "mine shipped today from CD Wow!" or "Mine shows temporarily out of stock at Amazon" and other inanities - like the world needs some dweeb's shipping update. They complain about the packaging - my goodness, the CD case arrived cracked!! They complain that Amazon's LP packaging isn't as bulletproof as Acoustic Sounds or Elusive Disc - even though they insist on getting free shipping from Amazon.

These must be pretty lonely people to have the need to share shipping status. But - whatever.

What is sad here is that none of these people have any business sense or sense of perspective on the 'Amazon Experience'.

The fact is - when some dipshit Governor claims he/she is creating "jobs" they invariably mean the online retailer "tech jobs" that Amazon offer - Chinese sweatshop type jobs, minimum wage, contract to avoid benefits or severance obligations, impossible to meet 'performance standards', remote locations that force desperate employees in towns out of nowhere to drive to get to work even though the wage barely exceeds welfare payments - these folks walk on average 12 MILES a day in the Amazon fulfillment centre under impossible conditions to meet pick and pack quotas that are impossible to meet.

And these entitled Hoffmanites COMPLAIN that their CD case was cracked in shipping?!?! And they have the self-righteousness to complain that their package isn't shipped fast enough??

What totally proves that this board is populated with the desperately dumb is the discussion of what number they got on the slipcase of their new AF Gold CD -  like, they really don't understand that that picker working at the Amazon fulfillment centre actually does not pick the slipcase with the lowest number to ship first, they simply grab one totally at random - which is pretty much what every retailer does, so that number you got means absolutely nothing at all. Sucked in again.

3. The Ramming of HMV:

The latest and greatest is how the Hoffmanites are 'ramming' HMV UK over the upcoming McCartney "Ram" reissue. Apparently, HMV made an obvious and inadvertent pricing error, setting the price of the deluxe hyper expensive cash grab version pretty much at single CD price.

It was obvious to anyone that it was an error. Even more obvious that it would ultimately be corrected, or at least, that orders at that price would be cancelled. To make matters worse, in their glee at finding a price so far below even manufacturing cost that HMV would lose a bundle on every copy sold, these losers went so far as to announce the pricing error on SHTV and provide a link to it - so all their pals could pile on and join the party, not only making the loss worse for HMV, but all but ensuring a massive number of orders were placed, raising the likelihood that HMV would notice the error - and correct it.

Which they did, taking the only prudent course of action - cancelling all the orders. To the outrage of the SHTV'ers who so blatantly tried to take advantage, feeling so entitled to the music at the cheapest price possible - devaluing it, disrespecting it, doing everything they can to not have to pay a fair price for it.

Shameful. The armchair lawyers claim 'contract violation'. They claim that they will never go back to HMV again. They claim they are writing to HMV to demand that they honor the price for their legitimately placed orders. They claim....well, when you get right down to it, all they claim is their selfish entitlement to take advantage of an obvious pricing error, one that obviously hurts a shaky retailer and hastens in it's own small way the demise of music retail.What they really don't get in their self absorbed minds is that HMV doesn't want them as customers - who would? Guys that only go to them because they are giving it away are not the type of customers any business can survive on.

What's most wrong about that thread at Hoffman's board is not that Hoffman himself didn't step in to correct it or take it down - Hoffman has never stepped in to a moral argument, no self-interest there. What's most wrong is that not a single one of these adolescents wrote HMV to alert then to what they knew was an error, one that would hurt their business. They all just figured it was a great opportunity to rip off the man, and even posted about their intent to do so on the Huff board.

Disgraceful. Not one of these people care at all about music.

Dusty...Definitely on Music On Vinyl:

Interesting choice from Music On Vinyl, Dusty Springfield's Dusty....Definitely straddles the line between her British pop and Memphis eras, and has a fair bit of both - some great blue-eyed soul and a bit of cheese filler. The best songs here are the former, and as always Dusty is a great, committed interpreter, and the backing is first rate. Some of the songs would not have been out of place on Dusty In Memphis - the record this preceded. As a transitional album in the Dusty discography, this one stands up very well, much more than a curiosity. The obvious failing is that it tries too hard to attack a variety of styles, yet Dusty always seems to rise above, and the best is truly exceptional.

Interesting that MOV show a picture of the original tape box on the printed inner sleeve - are we to assume from that , that original master tapes were used here? That would be unusual by far for Music On Vinyl. Unfortunately, no mastering information is given, so we are left to our ears to judge whether this is a signal or manipulation. The sound is excellent, and very well could be true analog, it sounds warm, direct, full, organic. No hints of upper end harshness or sibilance that often betray a digital source.

So - if you are a Dusty fan, this is one that can be firmly recommended. It is a fine transitional album that really is more representative of Dusty Springfield than 'Memphis' is. Fine pressing from MOV, only let down by their continued practice of putting the record unprotected in a hard printed card inner. For a premium label, there should always be a polyliner of some sort so the record doesn't show the (inaudible) scuffs that mar MOV pressings. Aside from that, a fine reissue all the way.

10,000 Maniacs - Our Time In Eden, Audio Fidelity Target vinyl:

Audio Fidelity reissue "Our Time In Eden" on 180g vinyl in the notorious Target series, a lower price series (I paid $20 for mine).

This is a good album, the followup to the classic "In Our Tribe" which is a better album, yet not by as much as I had long thought. In this version, it has a warm, organic, mellow sound that is very involving and suits the material very well - in fact, it is wholly better sounding than an original pressing. Cut at a slightly low volume, the sound is full yet detailed. Lacking the 'hits' of In Our Tribe, Our Time In Eden actually comes through as a more cohesive set of songs overall. There is a good case to be made here, sounding as good as this, that Our Time In Eden is actually the masterpiece.

Good quiet flat pressing. Highly recommended!!

Spiritualized "Sweet Heart, Sweet Light" new album,,

Finally - a month after the CD - the new Spiritualized record on vinyl. Nicely spread over two well pressed white vinyl 180g slices that are surprisingly quiet for the notoriously difficult white. Nice sounding too - well defined rock sound, not goosed in the mids or shaved on top to play to the audiophile grandpop crowd, just a good, natural and honest rock sound that gets better with volume.

If this is Jason Pierce's 'pop' record, I would love to hear his take on country. It invokes in places the vibe of Revolver, and the White Album, in other a bit of a Philly 80's sheen with occasional horns and strings (rather lightly employed on occasion. Hardly poppish, it's not the 90's band either. It is fairly stripped down, generally upbeat, guitar driven, song based. Pierce is a great rock singer. Band is excellent. I would say this is one of Spiritualized's finest records, the Pierce vision has evolved thoroughly from 'Floating In Space' and this is the place where Spaceman J puts it all together into a coherent statement. Highly recommended. Just love the record.

New Traffic and Elvis vinyl from Friday Music:

Two new slabs of 180g vinyl from Friday Music - the S/T second album from Traffic, and the seminal early Elvis Presley "Elvis".

You know, I'm trying really hard to like Friday Music, I really am. In fact, the "Elvis" is superb in every way - the sound is outstanding, deep, open, warm and engaging tonality, the inner timing is excellent - superb. And totally recommended.

The Traffic on the other hand, is problematic. The cover scan kind of gives a hint of what's to come - it certainly is not the best effort. The pressing itself is ok - not as good as the RTI Elvis pressing. And the sound is nowhere close to an original, or even a decent early US United Artists pressing or my Island Japanese pressing. There is obviously great variation track to track in the recording and instrumentation used on each track, but despite that, the mastering is a let down here. Bass is murky, boomy, indistinct. The top end has a bit of an etched quality to it - not natural. The midrange should have been brought up more. Overall, what lets this down is poor EQ choices made, with difficult tapes. Traffic obviously needs much more mastering studio time to get to real quality sonics, and it didn't get it here.

Not terrible sounding, but not good enough for a premium vinyl reissue. A miss.

Small Faces S/T reissued on Charly /Snapper CD!!

Here it comes - the CD reissue of the self-titled Small Faces record, a masterpiece, on the Charly label issued in 2012 from the original master tapes.

Little need to discuss the music, this is a true classic, essential in every way, a hugely influential band without whom much of the pop and rock of the 60's would have not happened or would have taken a different direction. Yet, at the same time, a band with very few real "hits" to their name, so still underappreciated by the larger public.

The Immediate master tapes have a long troubled history. Immediate crumbled and the tapes ownership has passed through many hands, and have rarely (if ever) been used since these records originally were issued. Previous CD reissues had varying sound quality as a result - and never did the music justice.

That has now changed. This reissue sounds fabulous - as good as this material, not terribly well recorded in the first place, and recorded 'hot' at that, will get. The bass is the first thing I noticed - powerful, 'feel it in the chest' bass, well defined, propulsive. The inner detail is greatly enhanced - the organ now sounds less of a distorted fuzz and exists in its own space, and the vocals are now also removed from the haze and sound fantastic.

No doubt the usual armchair 'experts' are going to whine as usual, so let's go there right off: "Comprssed" - yes, indeed, the masters have very little dynamic range. These tunes were recorded 'hot' - are then limited to punch through on the radio. It's not Pink Floyd. "Noise Reduction" - yes, probably, well used. No doubt these masters, which have changed hands many times and likely were not consistently stored well, need it. "Rolled off" - bullshit. That's imaginary, probably some will think that due to the greatly enhanced power of this remastering.  "Louder" - yes, it is! Thank goodness for that. Louder does not equal bad, in fact, increasing loudness - all to many early Cd's were transferred at way too low volume, at well below the level where both the DAC and the preamp work optimally.

The mono and stereo are here, the mono having more 'punch', but the stereo is really better, particularly tunes like Itchykoo Park that are intended for stereo. But both are excellent.

Don't hesitate to get this. Superb job all around, excellent packaging and booklet, this is an essential purchase.

New 24bit deep budget remasters from Warner Japan - Atlantic:

Warners in  Japan has issued the first batch of a huge number of classic jazz titles from the Atlantic catalog, 24 bit remasters.Price is super cheap - under 1000 yen, which translates to about $12. Damn cheap. I picked up 5 titles - 2 by Charles Lloyd, Dream Weaver and Love-In, Freddie Hubbard's The Black Angel, Gary Burton's Throb, and Steve Marcus' Tomorrow Never Knows.

You probably know the music - or you should. Dream Weaver is possibly Lloyd's finest Atlantic record all round. Cecil McBee on bass - thunderous, solid. Jarrett - early Jarrett - at times gospelish, at others mystical, always inventive. DeJohnette rocks. Lloyd himself has a dry, light tone on flute, not always appealing, his tenor fares better. The sound is solid, up front, deep bass, if anything on the dry side. Honest, if unspectacular, sonically - it seems no attempt has been made to do more than transfer from the (not generally superbly recorded) masters, likely second generation Japanese tapes - which were almost always excellent. Love-In is a live date that is also excellent, and sonically better.

Throb is early pre-ECM Gary Burton, and the truth is his ECM period is by far his best, and those recordings, particularly the ones with the Mick Goodrick/Swallow/Moses band, are essential. This, though, is a fair record, Richard Greene's violin at times grates - but Jerry Hahn's guitar is hot. Not the prime Burton Atlantic record, but interesting.

Freddie Hubbard's The Black Angel is a transitional record, with his classic quintet with James Spaulding out front heading towards Hubbard's CTI period. Interesting, inessential, Kenny Barron is always a great player, dabbles with electricity to mixed results, but when straight ahead, this was still a great band.

Steve Marcus' Tomorrow Never Knows is a superb record, pop tunes of the day - Byrds, Beatles, Donovan etc. - played by a super red hot band that is very rock, with Marcus' tenor and soprano going very far 'out'. Listen to it loud. A period piece perhaps, but still sounds very fresh, and exciting, today.

Another batch of these coming later in May. For around $12 apiece, it's hard to find an excuse not to add even the inessential titles to any good collection.

ECM: Steve Kuhn - Wisteria new CD:

Just out, a new CD from Steve Kuhn "Wisteria" on ECM. Kuhn as most know became somewhat famous for preceding McCoy Tyner in John Coltrane's first quartet, a very brief tenure that ended up with his being fired, obstensibly for musical incompatability, but likely more due to racial causes.

Kuhn went on to have a strong career recording for ECM in the 70's and 80's, after struggling through the 60's (producing two stone classics - October Suite on Impulse with McFarland, and the trio recording Watch What Happens on MPS). The late 80's through 90's were a less fertile period, Kuhn producing many fine but uninspired recordings in a rather traditional setting, and in the last decade, has produced a series of trio recordings of primarily straight played standards for Japanese label Venus (who have the most obnoxious compressed sound of any jazz label ever), and also a number of excellent recordings for ECM which have found him at a technical and creative peak, recovering in his later years the adventurous and creative spirit of his earlier ECM recordings, a new found freedom in his creative thinking combined with maturity.

The best is the latest, Wisteria. What elevates this record from very good to great is the presence of Steve Swallow on bass - electric bass at that. A varied program of mostly up tempo and mid tempo numbers, Kuhn is superb, his harmonic sense, use of time and space, a sparkling touch is pushed by Swallow's bass - walking the Fender on uptempo numbers, driving the excellent Joey Baron, and being thoroughly in the pocket while still showing that he came through the rock and fusion era.

The recording is superb. The CD benefits greatly from a claning with Liquid Resolution  from Extreme AV that takes some obvious coating off the disc and really opens up the aidio, particularly the bass.A totally recommended disc, jazz is alive and well with records like this in 2012.

Music On Vinyl: Monster Magnet, David Bowie, Wolfmother

 Recent releases from Music On Vinyl. Monster Magnet "Superjudge" on blue splatter vinyl, nicely pressed. This is where Music On Vinyl excel - digital recordings well transferred to vinyl. Basically their versions of titles that originally were recorded to analog tape can vary from really shitty sounding (ELP) to mediocre, to not half bad (Caravan's first LP). But more recent stuff seems to be given a good mastering from the digital source.
Superjudge sounds great. It's a record with lots of pure fun energy, hard rock, foot moving, fist shaking rock, old school style. Great record. Sounds tight, rounded, relaxed.

Wolfmother is hard rock with a metal edge, epic hard rock, not far removed from progressive metal bands like Mastodon, White Hills, The Sword and a lot of others - there is lots of competition in this niche. Wolfmother is a great band, and the writing is excellent, as is the playing. They are certainly retro on this second album - Rush is an obvious touchpoint, early Rush. Lyrically as well - a medieval metal in the songwriting. Their third album - Cosmic Egg - is a better, more proggy record. This S/T record is thoroughly a good rocker and the MOV pressing is fine, sounds very organic and relaxed, nothing harsh or hinting at digital here. Recommended.

Bowie's "Heathen" is given a great treatment by MOV. From 2002, Heathen is Bowie's last great record. It comes as a summation of his career, not a nostalgic one by a synthesis of what has gone before, a comfortable and mature one. A thoroughly modern production, very contemporary, yet Bowie all the way through. Well written and played, the MOV pressing is excellent, and for a record that references electronica as well as guitar rock, it sounds very relaxed and organic. A winner.

Plastic Penny on Guerssen/Somnor vinyl:

 Guerssen continue to specialize in vinyl reissues of arcane bands that didn't sell a thing on first release, dropped from sight quickly and have acquired cult or deep underground status on the collectors market.

Two of the latest, on the Somnor label, are from UK band Plastic Penny from the late 60's. The first - "Two Sides Of A Penny" is infinitely forgettable. Derivative psych-pop, lightweight cheese lyrically, musically well played though wholly unoriginal. Here it has been given a sparkling, clear and warm sounding remastering that rivals any original. It's hard to say this record held up well over time though, and it only bears reissue because of what came after.

The second record - "Currency" - is a whole different matter. This is a fabulous late psychedelic record, sounding wholly original, and bearing a resemblance to early Move and Pretty Things, as well as other contemporaries like Tomorrow and even the Small Faces in spots. Songwriting is outstanding, as is the playing. The step up between the two albums is nothing short of astonishing. But bear in mind - players in this band were Nigel Olsson, who went on to play in Elton John's band, and Mick Grabham, who replaced Robin Trower in Procol Harum. This is a fine forgotten masterwork, is you enjoy this era of British psych as much as I do, it is essential, and Guerssen have made it sound wonderful.

As usual from Guerssen, the vinyl is perfection - clean, spotless, flat, dead quiet. The first album is s minor curiosity, the second a must have.

George Harrison - Early Takes Volume 1 on vinyl:

Just released - a tie in to the Scorcese movie Living In The Material World, and the hardbound Christmas book of the same name, and the deluxe book/CD/DVD box, and the....whatever cash grab you can name.

Make no mistake - this is a cash grab. It's rather skimpy on songs. They are demos for the most part, finished and complete, and possessing some charm, particularly the songs from All Things Must Pass. And it is enjoyable, but not essential or revelatory. These are acoustic demos and rough early drafts.

The vinyl is selling cheap, and Universal have done their typical cheap pressing job. The sound is clearly digital, which is to be expected. It's not bad, nor is it overly good. Passable for the price and for what the record is, and it both requires and benefits from a good clean with Nitty Gritty First Rv, which is my go-to for cleaning up new vinyl from mediocre pressing plants.

Good record for Harrison completists.

Small Faces - Ogdens Nut Gone Flake 2012 mono vinyl:

Cause for celebration in 2012 - the Small Faces Immediate catalog is getting remastered, for the first time in nearly half a century from the original masters. There was a taste on Record Store Day - singles of Tin Soldier and Itchykoo Park that sound fabulous. Now comes Ogdens Nut Gone Flake on LP, from the mono masters, with the original round cover nicely reproduced.

The packaging sucks. It's just plain stupid to put a 180g LP inside the round paper cover without it's own sleeve or any protection. It not only flys around the outer sleeve in transit, it flys straight through the paper cover as well as the thick plastic outer sleeve. This is just purposely designed to ensure that virtually every copy will have a torn cover and seam split sleeve. Stupid.

The Lp pressing (and fortunately at least my pressing survived in transit, from online UK dealer Burning Shed, who should know better), and it is a decently quiet pressing, if not the best looking one. A good clean with Nitty Gritty First Rv took care of the business end.

I admit I have not the slightest clue what an original mono sounds like. This one sounds just great - punchy, powerful, lots of definition, strong bass. Vocals can be on some songs a tad recessed, but this is almost certainly both intentional and indicative of the recordings themselves, which were all over the map and not aimed at demo quality. Overall sonically it is well balanced and tonally excellent.

Without a doubt Ogden was meant to be heard in stereo. The stereo mix - I have a decent sounding Japanese pressing - has the psych tendencies the mono tends to downplay, through the two channel mix. So this might be considered a curiosity, it is a different view of a great classic album, and although inevitably there are some who will jump all over it sonically for no good reason, it sounds very good, is all analog from true master tapes, is mastered with care, and despite the shitty packaging is highly recommended.

Yes - Yessongs Blu-Ray

Yeah, I occasionally get a music Blu-Ray, even though I'm generally a 2 channel audio type person. I have a Oppo BDP-83 modified to defeat region coding on Blu-Ray discs (because there are a lot of great British TV series and movies on BR that I am in to) and it's fed through a B&W Panorama soundbar. Video is fed to a 55" Hitachi plasma, one of the last Japanese built ones.

So this is the first time here I am writing about a Blu-Ray, and it is the new UK release of "Yessongs", the first reissue of this movie to which the LP set of the same name was a soundtrack. The movie itself is little known, and it has been given a DTS surround mix (the original mono is also here) and a high definition video restoration. It appears to be region free, but check that out, it played with my Oppo set to region 1.

The video shows it's age and the limitations of the source and era. There is lots of grain, not all so infrequent flecks that are unobtrusive, tones are fairly natural in so far as the source allows. Overall it looks like a decent DVD upscale, but in truth filming indoors, in a dimly lit arena, 40 years ago had its limitations. That is apparent here, yet at the same time it is very 'watchable', detail given the source is not half bad, it seems to have been given the best restoration possible. No revelations here, not at all high resolution, and not at all of a modern standard. But it is still pretty good, and pretty cool to see those cheesy stage costumes, Alan White just having a blast, Howe playing his ass off, Squire a bit aloof, Anderson fairly stoned and Wakeman stone faced and foreboding. The sound is pretty much arena sonics of the day, sounds fairly cavernous, and the DTS goes as far as it can respectfully to the source. All in all, it hangs together pretty well, and seeing Yes in their prime is a real thrill.

I still haven't got the slightest idea what the lyrics mean. But it all goes down very cosmically. A recommended period piece and time capsule.

New Debussy, Lutoslawski and Bartok from ECM:

Two new releases on ECM New Series that should be out in the next week or two. One MAJOR, one less so but still noteworthy.

First up - the major. Debussy's Preludes by Alexei Lubimov. Two CD set. A revelation, much used word but this is the truest sense. Lubimov is totally idiomatic, with a slight underlying sense of the Russian romanticism in his DNA. The interpretations are shimmering - luminous. transcendental playing of Lisztian dimensions. The recording is beyond reproach - ECM's approach to classical music is uniquely divergent from the norm, Eicher prefers a dry, ever so slightly reverberant acoustic, relatively closely miked but not too close, capturing the tonality and decay perfectly.

But what makes this set so very special is that Lubimov has employed two very vintage pianos - a Beckstein 1925 in the first book of Preludes, a 1913 Steinway on the second. The Beckstein in particular is what Debussy wrote the Preludes for and himself stated as the preferred instrument to perform them on. This is very interesting - the period instrument movement of the past few decades has gone back to the fortepiano, and to gut strings and valveless horns, and adopted period appropriate orchestral sizes and bowing. But only very recently has there been recognition that even in the early 20th century, instruments were significantly different, and this is very true of the piano. The Beckstein has a darker sound, less decay, less sustain, obviously harder action, and has a fair bit of contrast between registers. By comparison, the earlier Steinway has a smoother action, the transition between registers is smoother, the tone is more shimmering, a bit brighter, with greater decay and sustain, and a lighter, incandescent tone. Both are unique and totally captivating. I have only begun to explore the tonalities on this CD. There could not be a more fitting tribute to Debussy in his centenary year than to give a modern reading of his piano masterpieces using instruments he undoubtedly encountered and played in his day.

There are recordings also here of the Trois Nocturnes and Prelude A L'Apres Midi arranged by Debussy for two pianos, rarely recorded, and in these both the Beckstein and early Steinway are used. Magnificent.

The Debussy must be considered one of the best of 2012, and will be regarded as one of the essential Debussy recordings. Lubimov stands with Geiseking as a peer.

Lutoslawski's Musique Funebre is an early piece appropriately and imaginatively coupled with Bartok's Romanian Folk Dances and Divertimento, Russell Davies conducting. Another fine, dry, detailed orchestral recording with fine ambiance and detail. The Lutoslawski is an interesting piece not as developed or singular as Lutoslawski's mature works, yet it is interesting to hear it, particularly when combined with fine versions of the Bartok pieces, the contrast enhances both.

NEW! Jerome Sabbagh "Plugged In" on Bee Jazz, Ronnie Cuber "Boplicity" on Steeplechase!

 Two ends of the spectrum, new releases from young tenor Jerome Sabbagh and veteran bari Ronnie Cuber.

Sabbagh's "Plugged In" is exactly that - a quartet with the Fender  Rhodes of the amazing Josef Dumoulin, bass is a Fender, and of course both tenor and drums are acoustic. Dumoulin is the star here. Right off the bat, he gets down to fuzzing the Rhodes and using a modulator to get a distorted, rock sound. Jerome plays with fire. The music is modern and totally in the pocket, today, but also coming straight out of 70's Miles, and Herbie, and lesser sung heroes like Eddie Harris, who Sabbagh reminds me of a lot tonally. Dumoulin and Sabbagh are the primary writers. The tunes are tight, focused. What a way to ease into summer! A smoking hot date. Play it loud!!

 http://www.beejazz.com/en/album/plugged-in/

Bee Jazz doesn't put out a lot - but everything they do is unique, superlatively recorded, and uniquely presented. Mastered at Sterling. Everything about this label is stellar and "Plugged In" goes straight to the top.

 http://www.beejazz.com/en/

At the other end of the jazz spectrum is the 2012 release of Ronnie Cuber's "Boplicity", a tribute to the bop era, Parker and Dizzy tunes dominate, Cuber comes from the Pepper baritone school, is playing at an absolute peak, and although this is a very 'traditional' date, it is hot and thoroughly enjoyable, showing a great bari player cutting loose in front of a world class trio, very well recorded, and thoroughly recommended.

Why is the best American music being recorded & released in France?

 I have touched on this before, so here is a deeper look at the jazz scene in France today. While American audiences either languish in the past, or simply have lost the essence of the music, a vibrant and exciting scene exists in France and Europe, that has evolved completely independent of America. Incubated in the 1980's and 1990's, taking the French classical tradition, the deep French jazz roots, and a melting pot stylistically combined with superb chops and musicianship, and you have all the ingredients for a scene to emerge that takes this music to a new level and makes it not only relevant, but essential to the 21st century.

Long gone are stereotypes that European jazz players are inferior to Americans, or that they are stiff and un-idiomatic, or can't get themselves out of the classical thinking. In fact, it is American jazz players today who all too often sound like Berklee drones, while the stereotypes are being exploded in France.

Take Thomas Savy and the "French Suite", with Americans Bill Stewart and Scott Colley on board for a piano-less trio, with Savy's lithe bass clarinet the front line.The music comes out of Ellington (Come Sunday in a fine performance) through Atlantic era Coltrane, echoes of Bennie Maupin, and Shorter, a very unique swing, a major case for the bass clarinet as a font line horn. fantastic record. Beautiful wood and bottom end to the horn. Superb.

 Ronnie Lynn Patterson is an ex-pat pianist who takes more from Jarrett, and Zawinul, and Bobby Timmons, and "Freedom Fighters" is a trio record that brings the blues, the church, the classical romantic repertoire, the rock and R&B influences of our generation to the trio traditions, never far away from Tyner, and tracing back to Phineas Newborn. Brad Mehldau may have more chops, but not near the soul.

 Only in France can a woman baritone player not raise eyebrows. More stereotypes get exploded on Celine Bonacina's "Way Of Life", a trio record where Bonacina shows a full tone with bite, no Mulligan, even harder than Pepper, echoes of Steve Lacy in the angularity of many pieces, an adventurous improviser. Post-bop at it's best.

 Sophie Alour, an amazing tenor player, here on her 3rd record (a new one is imminent).Piano-less trio. You would think on hearing it that Wayne Shorter is in the room. Then you get the sense that a very singular voice is grabbing you, one that obviously came through fusion, post bop, late Miles, Brecker and Metheny, and modern rock and emerged as a hell of a player. Fine composer too, of sharp, witty themes and mystery infused soundscapes. Echoes of Joe Henderson in her tone and approach, also of later players like Ricky Ford. I would probably go for her second album, the heavily electric fusion "Caged" first, but this is a fine record from a fine musician pushing boundaries.

 Daniel Humair has had a lengthy and distinguished career, and is still going strong - almost totally unknown to North American audiences - and continues to move forward with exciting, challenging music. Never one to fall in to a formula or repeat himself, here Humair is paired with tenor Tony Malaby and bassist Bruno Chevillon is a series of spontaneously improvised pieces. It reminds me a lot of Sam Rivers' trio recordings on Impulse, although it is both more abstract and less overtly 'out'. This is almost akin to a classical trio conceptually, but improvised and spontaneous. Humair is a monster drummer with a deep humanity to his playing. A challenging and stimulating disc that bears repeated listening.

 Sophia Domancich in a trio with the awesome William Parker and Hamid Drake. A live date, pretty "out" with three extended improvisations, the title track is a group improv, then there are a tune apiece from Mal Waldron and Ornette, out, abstract, captivating, Domancich takes a lot from post-Blue Note Andrew Hill, as well as Cecil Taylor, Parker's bass almost steals the show, Drake is inventive and unpredictable. Challenging, yet rewarding. Not for the faint of heart.

 Michel Portal is a French giant. "Bailador" is simply an awe-inspiring record, with Scott Colley and Jack DeJohnette as the rhythm section laying down some solid 'world' rhythms, acoustic, with the electric keyboards and electric guitar putting in the color and texture, the bass clarinet and trumpet front line is fantastic. At this point in his career, Portal could be playing it safe. This is exciting, colorful, inspired music that stays with you and doesn't let go. Five doobies and a big recommendation..

 Here is an all-American band that has to go to Europe to get recorded and released. 60's survivor Dave Liebman, John Abercrombie, Marc Copland, Drew Gress and Billy Hart. Primarily originals, elegant compositions, Liebman still favors the soprano but plays some fine tenor here also Copland is sparkling and elegant, Abercrombie is his understated best, Hart has achieved late in his career a new level of insight and creativity. Favoring mid tempos, but Liebman in particular plays with fire, a nice contrast to Copland's classical elegance. A very good record.

 Tineke Postma is a fine alto player, hard to find the reference points as she has a very clean, full tone and a fine modern swing sensibility. She can bite and bark, and can sing with the horn beautifully as well. With an amazing band behind her - Geri Allen is simply a giant, and really elevates the date here. Carrington has matured as a drummer and is a treat to hear, and Colley is solid as always. Classic hard bop date. Superb.

 A masterpiece by Carine Bonnefoy, exploring her Polynesian roots in a large orchestra setting. Magnificent fusion of world rhythms, large jazz orchestra, and on some pieces strings well deployed. Through composed works for the most part, with well taken solos well integrated into the compositional fabric. A magical work, thoroughly modern showing the possibilities that can still be achieved with an imaginative and innovative composer using large modern forces. Not to be missed.

 Haiti's Julien Lourau in a classic quartet format is more of a mixed bag. Echoes of Milestone era Tyner, and modern New Orleans, the quartet eschews the formulaic head - solos -head pattern and this has more of a group feel. A slower burning fire comes across here, the music is very organic and textural, and there is a wonderful interplay and feeling yet at times one feels that Lourau isn't fully developed yet. Three and a half starts of five here - an engaging record that points to better to come.

Drummer Jochen Ruckert leads a quartet with Mark Turner on tenor, a guitar in place of piano, in a set that can be best described as a quiet storm - the pieces tend towards the introspective, yet this is no ECM new age shit. Turner plays his ass off, without being showy, and gets deep inside, never just running changes or flipping riffs. Needs to be turned up loud for maximum impact. A very modern post-bop quartet that is highly recommended, Ruckert reminds me of Billy Hart, and in fact the record overall has the feel of Hart's recent ECM outing with Turner, but with more fire and edge. Recommended.

That's a pretty big roundup for now. Each of these CD's is excellent, and it still makes me scratch my head over why this music has migrated to Europe, and France in particular. Part of it undoubtedly is the dumbing down and disposable consumerism of American culture. Part of it is that in countries like France, culture is supported and nourished by the state. Another part may well be that the roots of this music actually go further back into the French psyche and DNA than they do in America. Whatever - look into this music if you are at all interested in the state of jazz today.