Jazz

MikeH said:
my wife hates going record shopping with me because i have to look through EVERY single used record. she likes the record stores that have an armchair inside so she can sit and read a book while I flip through everything
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jamieanderson1968 said:
All retailers should supply free wifi and comfy chairs for significant others.
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I feel like I hit the jackpot with my local. Its not massive BUT its situated in the corner of a coffee shop. I can be digging for hours as long as there is a steady flow of tea and biscuits heading to her table.
 
Selaws said:
I feel like I hit the jackpot with my local. Its not massive BUT its situated in the corner of a coffee shop. I can be digging for hours as long as there is a steady flow of tea and biscuits heading to her table.
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My wife would like to know where this record store is haha. She'd love it there as a brit.
 
Omg omg omg OMG! A new 2021 Elvin Jones disc just arrived in the mail from the UK today! I'm the hugest fan of Elvin's bands. This one is from a radio broadcast in 1973. For those of you who know his bands, this one has the same personnel as "Live at the Lighthouse", with: Gene Perla (bass), Steve Grossman (soprano sax and flute), and Dave Liebman (tenor sax).
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Selaws said:
Its called 'Union Records'. A bit out of the way from Central but I we could meet up for a drink and record hunt!
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When there isn't a pandemic, we're usually in the UK/London at least twice a year. So I'll try to remember to hit you up next time we end up there!
 
I watched this earlier and completely agree with the points Ken raises.

Essentially he watched a live stream by a prominent audiophile collector on Youtube and someone asked which jazz labels are best avoided. The Youtuber's response was "If you stick to the audiophile labels then you will be fine". The response clearly irked Ken and I have to admit that I feel the same way. There seem to be more and more people that dismiss any pressings other than high-end audiophiles.

The Youtuber in question supposedly has only been buying records for 1 year and has more than I do, full runs of the Music Matters jazz (and SRX titles), all of the URQR's, all of the Tone Poets, and a system that likely cost 10s of thousands if not more. Now I don't begrudge this at all (I would be the same if I had the money) but surely if you are in the 'game' for the music then you really are limiting yourself massively. I love a good reissue as much as anyone but can think of several albums on 'cheaper' labels that beat titles released on analogue labels.

Maybe I'm looking into it more than I should be but it's certainly something I have noticed on Instagram lately. People will say things like "this is definitely the best sounding copy available" which comparing 2 modern reissues.

 
Selaws said:
I watched this earlier and completely agree with the points Ken raises.

Essentially he watched a live stream by a prominent audiophile collector on Youtube and someone asked which jazz labels are best avoided. The Youtuber's response was "If you stick to the audiophile labels then you will be fine". The response clearly irked Ken and I have to admit that I feel the same way. There seem to be more and more people that dismiss any pressings other than high-end audiophiles.

The Youtuber in question supposedly has only been buying records for 1 year and has more than I do, full runs of the Music Matters jazz (and SRX titles), all of the URQR's, all of the Tone Poets, and a system that likely cost 10s of thousands if not more. Now I don't begrudge this at all (I would be the same if I had the money) but surely if you are in the 'game' for the music then you really are limiting yourself massively. I love a good reissue as much as anyone but can think of several albums on 'cheaper' labels that beat titles released on analogue labels.

Maybe I'm looking into it more than I should be but it's certainly something I have noticed on Instagram lately. People will say things like "this is definitely the best sounding copy available" which comparing 2 modern reissues.

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I haven't watched the video yet but this is a really interesting topic. I never bought any audiophile releases until a couple of years ago, my rational being that standard vinyl can, and generally does, sound fantastic. And I'd rather buy more different records than spend my money on fewer titles that are generally more middle of the road. I think we can blame the Tone Poet series for feeding into this thinking a bit, showing us all what audiophile titles can sound like. I've definitely bought far more audiophile titles in lockdown than I ever thought I would, some of this is down to bad experiences with discogs and cheaper titles that I've enough and are unlistenable (is this a symptom of the increase in demand). I do get a bit miffed at what was just good standard vinyl now being sold as expensive audiophile versions. But onto other hand I've been blown away with some of the audiophile titles tbh. I do wonder if I've bought too much into it myself at times (I was listening to the new Sven Wonder last night just sounds amazing, definitely audiophile)

For me this is what I like about the definitive audiophile thread, AP& MoFi come up maybe too often but what I really want to hear about is those 'cheaper' labels that beat titles released on analogue labels. If my collection was only AP & MoFI I would get very bored very quickly, my attention span is poor anyway. We need more conversation on the good sounding cheaper stuff.

The whole reissue thing is another matter entirely, it's become so expensive to buy a lot of OG titles, reissues are often the only way to get them these days. (our friends in Japan are still helping us out with this though).

I'm seriously considering not buying anymore audiophile titles and seeing how long it would take to save up for some L100's
 
Andy said:
I haven't watched the video yet but this is a really interesting topic. I never bought any audiophile releases until a couple of years ago, my rational being that standard vinyl can, and generally does, sound fantastic. And I'd rather buy more different records than spend my money on fewer titles that are generally more middle of the road. I think we can blame the Tone Poet series for feeding into this thinking a bit, showing us all what audiophile titles can sound like. I've definitely bought far more audiophile titles in lockdown than I ever thought I would, some of this is down to bad experiences with discogs and cheaper titles that I've enough and are unlistenable (is this a symptom of the increase in demand). I do get a bit miffed at what was just good standard vinyl now being sold as expensive audiophile versions. But onto other hand I've been blown away with some of the audiophile titles tbh. I do wonder if I've bought too much into it myself at times (I was listening to the new Sven Wonder last night just sounds amazing, definitely audiophile)

For me this is what I like about the definitive audiophile thread, AP& MoFi come up maybe too often but what I really want to hear about is those 'cheaper' labels that beat titles released on analogue labels. If my collection was only AP & MoFI I would get very bored very quickly, my attention span is poor anyway. We need more conversation on the good sounding cheaper stuff.

The whole reissue thing is another matter entirely, it's become so expensive to buy a lot of OG titles, reissues are often the only way to get them these days. (our friends in Japan are still helping us out with this though).

I'm seriously considering not buying anymore audiophile titles and seeing how long it would take to save up for some L100's
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It definitely piqued my interest as well. I share a lot of the same viewpoints as you do by the looks of it. There's just too many great options out there to be limited to audiophile only. Just think of all of the jazz labels alone that have not had an audiophile reissue series (MPS, Steeplechase, Enja, Argo, etc) yet it shouldn't stop someone from listening to them.
 
Selaws said:
It definitely piqued my interest as well. I share a lot of the same viewpoints as you do by the looks of it. There's just too many great options out there to be limited to audiophile only. Just think of all of the jazz labels alone that have not had an audiophile reissue series (MPS, Steeplechase, Enja, Argo, etc) yet it shouldn't stop someone from listening to them.
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Just watched the video

He's talking about the German guy on 45 RPM, sounds like he has a bit of a beef with him tbh. He puts on a dodgy German accent.

Watching his videos over lockdown I think this is more of a misunderstanding. The German guy is not talking generally just about jazz & has been collecting records for decades but found as he got older wasn't listening to them and sold off a massive electronic based collection with a view to getting a broader collection. His early videos were about selling off his old collection and getting different musical styles in audiophile quality, because he was blown away with some the titles.

He has basically bought loads of audiophile records over the past few years while in lockdown. Ken is a Jazz aficionado, the other guy primarily buys electronic avant grade music (not audiophile) & then shit loads of audiophile titles because he has the money. You ask a guy who's channel is called 45 rpm what records he would recommend, he's probably going to say get the 45 rpm one. He doesn't have the knowledge that a lot of people on this site do (neither do I), especially with Jazz.

edit - Also ZYX did some good sounding releases in the 90's as did GZ, but good list of labels to avoid

having said all that, I think it's a really interesting topic.
 
Andy said:
Just watched the video

He's talking about the German guy on 45 RPM, sounds like he has a bit of a beef with him tbh. He puts on a dodgy German accent.

Watching his videos over lockdown I think this is more of a misunderstanding. The German guy is not talking generally just about jazz & has been collecting records for decades but found as he got older wasn't listening to them and sold off a massive electronic based collection with a view to getting a broader collection. His early videos were about selling off his old collection and getting different musical styles in audiophile quality, because he was blown away with some the titles.

He has basically bought loads of audiophile records over the past few years while in lockdown. Ken is a Jazz aficionado, the other guy primarily buys electronic avant grade music (not audiophile) & then shit loads of audiophile titles because he has the money. You ask a guy who's channel is called 45 rpm what records he would recommend, he's probably going to say get the 45 rpm one. He doesn't have the knowledge that a lot of people on this site do (neither do I), especially with Jazz.

edit - Also ZYX did some good sounding releases in the 90's as did GZ, but good list of labels to avoid

having said all that, I think it's a really interesting topic.
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I’m really skeptical that either of these two guys have the ears to really detect differences in some of these recordings. Honestly I think most of the audiofile world is a bunch of bs to justify getting money out of people or people fetishizing things that really have no affect on their life or enjoyment of the art they listen to.
 
Selaws said:
I watched this earlier and completely agree with the points Ken raises.

Essentially he watched a live stream by a prominent audiophile collector on Youtube and someone asked which jazz labels are best avoided. The Youtuber's response was "If you stick to the audiophile labels then you will be fine". The response clearly irked Ken and I have to admit that I feel the same way. There seem to be more and more people that dismiss any pressings other than high-end audiophiles.

The Youtuber in question supposedly has only been buying records for 1 year and has more than I do, full runs of the Music Matters jazz (and SRX titles), all of the URQR's, all of the Tone Poets, and a system that likely cost 10s of thousands if not more. Now I don't begrudge this at all (I would be the same if I had the money) but surely if you are in the 'game' for the music then you really are limiting yourself massively. I love a good reissue as much as anyone but can think of several albums on 'cheaper' labels that beat titles released on analogue labels.

Maybe I'm looking into it more than I should be but it's certainly something I have noticed on Instagram lately. People will say things like "this is definitely the best sounding copy available" which comparing 2 modern reissues.

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Points well taken on the fact that ignoring non-audiophile labels is problematic for several reasons. Ken’s taken a couple shots at the YouTuber you’re talking about (45rpmAudiophile), as has The Jazz Shepherd. I watch all 3 of those channels — and I enjoy all of them for different reasons.

However, their criticisms come off (to me) as childish and petty, bc they don’t like his style (he merely shows his collection without giving substantive reviews), and, I think, are envious of his much larger subscriber numbers. But that’s what he wants to do, and many people enjoy it (including me). And he’s turned me on to several amazing electronic releases I would not have known about by Nicholas Jaar, Darkside, Thomas Fehlmann, and, in the jazz realm, I think he’s the reason I have “Ron Jefferson Choir” and “Glass Bead Games.”

More to Ken’s comment about limiting acquisitions to audiophile labels: I think 45rpmAudiophile said (or was trying to say) is merely that audiophile labels come w/ a relative guarantee of quality. In contrast, at least w/ regard to older presses, he has said what is true: they can be incredibly expensive compared to a Tone Poet, BN80, BN Classic, Impex, SC, AP, etc. and, even with those high prices, can be a minefield when it comes to grading and quality.

Also, fwiw, 45rpmaudiophile has been collecting records for more than a year. His YouTube channel has been up for about a year, and he’s garnered a very large audience
 
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