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Discussion: Miles Davis: Take Off (The Complete Blue Note Albums)

Posts: 25
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Post by Marpow May 23, 2015 (21 of 25)
Wow, Wow, Wow.

Absolutely love it and I am only half way through. Have listened to the first half twice already.

Will be doing proper review later from a beginners point of you but this is a great disc.

When my wife says I (hate)(exaggeration) your stereo except when it sounds like this, then you know you got a good one.

One of my wife's friends came over and she couldn't leave as she was so immersed in the beauty of this recording.

It helps now that my new additions to my machine are fully broken in and the little power house is on fire.

Not that anybody should care but I added Stillpoints (3 each) to the bottom of my main left/right speakers and happy to say a definite improvement.
Disclosure: I will not engage in system improvements, live and let live.

Post by rammiepie May 23, 2015 (22 of 25)
Marpow said:

Not that anybody should care but I added Stillpoints (3 each) to the bottom of my main left/right speakers and happy to say a definite improvement.
Disclosure: I will not engage in system improvements, live and let live.

I CARE, Markie, and if you took my "further" advice and did what I told you to do with those discs........you'll finally discover what is REALLY on those shiny little buggers! The MOTHER of ALL WOW factors!

Have I ever steered you wrong?

Post by SeeJohnson81 May 27, 2015 (23 of 25)
First, thanks for the thoughtful review. It's great to have a balanced assessment of the work.

To clarify, since there's a lot of speculation regarding the provenance of the masters -

Bernie did the original transfer work from analog masters. He "created" new high resolution masters at 192/24 that Don Was approved for all of the Blue Note 75th anniversary projects.

Bernie's task originally was to recreate the masters for BLP 1501 and 1502 - the 12" albums from Miles's BN catalog. When the idea for a complete Blue Note Takes came up, the albums needed re-sequencing and there were additional takes that needed to be added.

That's where Kevin and Bob came in. They both did A-D transfers for the missing songs and in the process, additional, unreleased takes were discovered. Kevin did the sequencing for the CD version of this release but the BD master is different and was compiled by Arvato in Munich.

For some songs, we only had 96k files available when we compiled the masters, hence limiting the whole release to 96k, since we can't mix resolutions.

I hope that helps clear things up.

Finally - thanks for catching that sequencing issue - right when you think you've got the whole thing buttoned up... Overall, I'm glad that the sound improvement is notable and enjoyable. That's the ultimate goal.

Post by undertone May 28, 2015 (24 of 25)
SeeJohnson81 said:

Bernie did the original transfer work from analog masters. He "created" new high resolution masters at 192/24 that Don Was approved for all of the Blue Note 75th anniversary projects... Overall, I'm glad that the sound improvement is notable and enjoyable.

Many thanks to Mr. Johnson for sharing the mastering information, and more credit to Bernie Grundman and the Blue Note team. Clearly, much effort and expertise went into the production of this Blu-Ray.

My own collection of remastered Blue Note titles includes Analogue Productions SACDs, Audio Wave XRCDs, Toshiba EMI CDs, Blue Note 75 LPs, and now this BD-A. It's encouraging to learn that analog sources have been well-preserved and new mastering undertaken, so that those of us who appreciate Blue Note's contribution to the culture will have another platform for enjoying the music.

Post by Deribas June 25, 2015 (25 of 25)
Marpow said:


The thing that does get to me is the screeching sax in A Love Supreme it is a little un nerving for me, but I am uneducated in Jazz and maybe I am missing something in context?

Mark,

For me, what convinced me that Coltrane's "screeching" exclamations on the tenor were a natural extension of his conventional improvisational technique and, in fact, were dictated by the iron logic of his solo development, was the title track of the record "Transition". In it, you can hear that the extended solos (2 of them) that begin conventionally (within normal range of the tenor sax playing) build up inexorably to a climax that requires a different technical means. It also makes it clear that Trane did not use these screeches gratuitously or to mask a lack of melodic ideas. They grow organically out of extended conventional solo improvisation.

I always thought that the title of the album "Transition" is incredibly apt, as it is a watershed between the daring, yet technically conventional Coltrane (as late as Crescent) and the free player of A Love Supreme and beyond. It is a less recognized masterpiece than A Love Supreme, but to me in many senses more searching and ultimately satisfying.

Max

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