Boy, there's plenty to criticize in some of these sonic decisions, but the music tends to be freakin great, made by great, creative solos perusing original visions like Wayne Shorter and Andrew Hill and Sam Rivers and John Coltrane and Miles Davis and Joe Henderson and Art Blakey and Tony Williams etc. I mean, I know we all have different tastes but jeez louise, we all have ears too. There are also some RVG recordings that have very wide soundstages, like Blues & the Abstract Truth. And what the heck is "Blue Note period" jazz, Blue Note recorded everything from Sidney Bechet to Cecil Taylor over a period of decades, there's no Blue Note style or period of music. I know a lot of people associate the label with hard bop and some of the kind of soul jazz organ and guitar dates, but at the same time Lion was recording unique a talents like Herbie Nichols and Andrew Hill and Wayne Shorter, guys persuing something individual and not really part of a trend or schoo., and little of it is bebop, a lot of it is hard bop, but if Miles Davis' first great quintet and Horace Silver are the epitome of hard bop, I dunno what "shredding" has to do with it. But if the only thing people hear in the earlier music of Charlie Parker or Bud Powell is an empty interest in speed, well, there's a lot they've obviously missed, certain at the very least in the harmony and breath to breath phrasing. I mean, I get Steve's frustration with some (not all) of the sonics, but I hate to see the conversation turning to dumping on the music, much of which is great and all of which was made by fine artists pursuing their craft and in a lot of cases, deep, original visions.