Discussion in 'Music Corner' started by Lonson, Sep 1, 2016.
Cecil Taylor Jazz Advance
Someday My Prince Will Come (1961)
The Original Mono Recordings
Columbia – 88883 75664 2, Legacy – 88883 75664 2
9 × CD, Compilation, Remastered, Mono
Sound is certainly good on that one.
Happy to elaborate on the process of removing stickers and restoring sleeves.
I started a thread here on the topic, and there have been a few other threads by others.
Yes! Princeton Record Exchange adhesive is a bear. And they're not alone. Record & Tape Exchange in London, Sounds on St. Marks Place, promo labels, and some radio stations and libraries, all seemed to have no care for what their stickers did to the cover.
For stubborn stickers my method depends on the record cover. Laminated covers I can be more aggressive. Matt covers or covers with a delicate print, less so. Also, has the cover already torn in some way?
But let's assume it is a relatively robust cover. I use Zippo lighter fluid and soak the sticker completely, mopping up excess fluid that's outside the sticker. I take a glass paperweight and lay it on top of the sticker so the fluid doesn't evaporate, and leave it for a few hours. I then use a finger nail to gently test the perimeter and check the adherence. Sometimes it slides clean off (soooo satisfying), sometimes seems like I didn't make a dent. Now, the fluid looks like its made a mess, but evaporates and doesn't leave a mark (mostly). If there are stickers on stickers, take the top off so you're down to the thinnest possible layer. That way it can soak down through to start to dissolve the glue. It can take 3 or 4 such soakings, picking away with the fingernail and scraping off layers of sticker.
Once removed, there's typically residue which comes off with paper towel and more lighter fluid or Formula 409 (even better, a cocktail of the two).
One thing to watch for is the sticker that is covering a tear in the cover left from a prior sticker. Store owners often cover up the blemish with their new sticker, exacerbating the damage, and hampering the restoration.
Permanent marker? Again, Zippo fluid is your friend. It removes permanent marker from a laminated cover. You have to apply the paper towel vigorously. It can also remove biro and felt tip and various other inks prior owners used, or radio stations used.
As for Goo Gone, I've used that in other contexts, but find this combo working fine. May be worth experimenting. The fumes from Goo Gone are pretty intense.
Stickers are just one component, as you'll see from my thread linked above. Hands down the most satisfying aspect of record cover restoration is cleaning the cover with a paper towel and Formula 409, lifting ringwear, tobacco residue, grime, skin oil, and who knows what. Maybe even COVID.
NP Omar Sosa with Gustav Ovalles - Ayaguna (Otá)
Live duo album from Motion Blue, Yokohama, Japan 2002.
Discovered him in the late ‘90s when he was living in the SF Bay Area and so played locally multiple times. He put on some amazing shows for a period of time before moving to Europe.
Cecil Taylor Love For Sale
NP: David Murray - Flowers for Albert (India Navigation)
Just bought this afternoon, and listening for the first time—really enjoying what I've heard so far.
This is Murray's debut.
Bass – Fred Hopkins
Drums – Phillip Wilson
Tenor Saxophone – David Murray
Trumpet – Olu Dara
...switching gears for a few. Playing disc 1. Alternate takes from the John Wesley Harding and Nashville Skyline sessions.
Jack DeJohnette: New Directions
Silver Hollow has to be one of the most gorgeous pieces of music I’ve ever heard.
Fischman thank you for the heads up! I loved this and I've been working through the Eddie Henderson catalog on Qobuz. And personally to me good music is good music we've reached a point in time where most things are at the very least derivative. I'll take new straight ahead jazz any day of the week!
Thanks Lonson, that gives me confidence purchasing it.
Recently discovered this one and just love it. Amazing music.
From JazzTimes (7/31/20):
For the first time ever, ECM Records is releasing Pat Metheny’s full 11-album catalog on the label for high-resolution downloads and streaming. Classic Metheny albums such as Bright Size Life, Offramp, and 80/81 are included as part of this initiative, which spans from 1976 to 1984.
“The main premise in digitizing the Pat Metheny tapes was not to change the sound of the recordings, but to realize them in the original form, in the best possible quality,” explains ECM mastering engineer Christoph Stickel. “The work was based on the original, analogue stereo master tapes. The masters are in very good condition and can be played without problems. All tapes were played by a Studer A820, which was meticulously calibrated to the respective tape. The analog signal was digitized in 96kHz/24-bit, which covers the complete spectrum of the original bands. In each case, a decision was made between a PrismSound ADA-8XR, an Antelope Eclipse Mastering AD, and a Mytek Brooklyn ADC, depending on which one suited best the respective recording. No de-noising and no other restoration affecting the sound was carried out.”
The albums in question are:
Bright Size Life (1976)
Pat Metheny Group (1978)
New Chautauqua (1979)
American Garage (1979)
As Falls Wichita, So Falls Wichita Falls (1981) with Lyle Mays
First Circle (1984)
pulled this from the shelf today, glad i did !
Princeton Record Exchange took special pleasure in destroying rare vintage pressings. In the early 1980's, I bought a whole pile of first pressings of Clef and Norgran David Stone Martin covers, and they put their stickers right on the front. I asked them why they just didn't put them on the back. All they said was "It's the music that counts!" Well, all those covers have a much lower value today, severely lower. When I bought them, I did not realize they used a permanent adhesive.
My father used to strip furniture with a torch, followed by 60 grit sandpaper. I may try that.
Impossible to get hold of on CD. I really wanted to have this when I was heavily into Murray twenty years ago. Now I am not so sure it would be worth pursuing for the prices asked on Discogs.
I don't find the smell of GooGone to be offensive in any way. It's a citrus oil based solution and smells like, well, oranges. Pleasant actually.
Digitally remastered in 2006 from the original tapes.
Understatement of the day.
Nice shirt, Jack. God, they all look great.
Tolliver quartet always sounds like more instruments are involved. Plight and On the Nile side 1, doesn’t get any better than that!
August first is an holiday in most Canadian provinces, so I decided to take the Night Train with Oscar
with the fabulous Hymn To Freedom.
This composition title is certainly in "Dans l'air du temps" in the mood of time.
For those of you Cecil Taylor fan, I guess you must have heard about the famous box set Cecil Taylor - The complete In Berlin 88 that was released by FMP there was only 1000 copies available.
This box set is available as a download at BCamp with an extra or two
THE COMPLETE IN BERLIN '88 (BOX SET), by CECIL TAYLOR
Stephen Foster was a genius. The "Bob Dylan of the 19th Century", as Robert Burns was the "Bob Dylan of the 18th Century"
For many years, I have collected versions of "Hard Times Come Again No More".
Now here comes Arlo Guthrie with a new interpretation.
I think this is worth watching. Arlo certainly developed into a master singer over the years. I don't think he expected to make it through a full lifetime. It would have been interesting if his father had lived a long and healthy life.
Though I still think Arlo's interpretation is superb, I have some reservations about the last verse that Arlo wrote, putting an optimistic spin on the song. It is easy to say that it is good to be optimistic, but it does profoundly change the meaning of the song as written by Foster.
This song has been nearly completely overlooked by the thousands of jazz singers over the last century. So many of the jazz singers could have performed very moving versions of this song. No swinging uptempo versions, please. It is a very serious song.
A long-time favorite, with good tunes by Sonny & nice brass arrangements by Nelson. Solos by Kenny Burrell & pianist Roger Kellaway, with Walter Booker on bass & the swinging Frankie Dunlop on drums. Recorded 1/26/66 by Rudy Van Gelder in Englewood Cliffs, NJ. Producer: Bob Thiele. 1997 CD reissue produced by Michael Cuscuna & remastered by Eric Labson.
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