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5 Records You Should Own Article

173.240.16.17
Posted on June 10, 2016 at 09:37:07
chosenhandle
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Posts: 491
Location: Minnesota
Joined: July 20, 2004
 We wanted to let everyone know that we have posted the latest installment in our "5 Records You Should Own" series. Writers like Roy Gregory, Wes Phillips, Rad Bennett and others pick a topic and choose 5 titles that they feel stand out. Rad just posted a great article on small Classical labels that has received a lot of positive responses. Rock, jazz, classical, there is something for everybody and hopefully the series will keep going!

 

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Like R2D4..., posted on June 10, 2016 at 16:08:14
mkuller
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Posts: 38130
Location: SF Bay Area
Joined: April 22, 2003
 ...can't disgree with the choices, but they aren't the ones I'd pick in the genres I know.

 

Nice idea!, posted on June 10, 2016 at 17:48:13
Chris from Lafayette
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 I applaud the reviewer's selection of the Janis/Skrowaczewski recording of the Schumann Concerto (I prefer it too - even to the Janis/Reiner recording), although it's inevitable that there are other selections I disagree with. (The selection of Ansermet's Nutcracker strikes me as particularly perverse in view of the false entrances in the Spanish Dance (what - nobody noticed this???) - and especially when the Dorati/LSO version is SO superior!) ;-)

Actually, we ought to steal the idea and have some similar threads here on AA. I hope Analogue Audio in Minnesota wouldn't mind! ;-)

It's a fun exercise, and limiting the selections to 5 at a time tends to prevent tedium from setting in.

 

RE: 5 Records You Should Own Article, posted on June 10, 2016 at 19:32:01
Mike K
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Posts: 13976
Location: 97701
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 I can heartily agree with the 5 records by Basie. However, the author
needs to become aware that, on Kansas City Shout, Cleanhead Vinson sang
a couple of numbers, including It Was A Dream, which the writer references
as being sung by Joe Turner. This record, btw, is probably in the top
5 of ALL records Basie ever made, in any era.

Lack of skill dictates economy of style. - Joey Ramone

 

Previn's early Nutcracker superior to Dorati, projects more of the ecstasy and co.or, posted on June 11, 2016 at 07:37:01
jdaniel@jps.net
 Dorati's Sleeping Beauty a favorite though.

I like Ansermet's Swan Lake for it's charm in the earlier acts, but band not weighty enough for the final scenes. I turn to Bonynge on london for Act III. Spectacular.

My two Everest recs would be the Antill and the Boult VW 9th.

 

Previn??? Surely you jest! ;-), posted on June 11, 2016 at 09:11:09
Chris from Lafayette
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 Of course, I do admit that it's hard to measure ecstasy! ;-) And I do admit/agree that Previn's early recordings were his best.

Is "co.or" coordination (as in coordination of the orchestra)? Oh no, I've got it - it's color, right? In that case, as I said, surely you jest! ;-)

 

About 100 categories, posted on June 11, 2016 at 10:18:15
jedrider
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Posts: 15168
Location: No. California
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 of five records one should own. That's a lot of recordings.

 

Yup, color. Maybe you've only heard the digital remaster. : ), posted on June 11, 2016 at 11:57:06
jdaniel@jps.net
 The 70s LSO play their hearts out, fabulous wind playing. Love music before waltz of snowflakes is truly moving.

Of course, not always the case with conductor or orchestra.

 

RE: 5 Records You Should Own Article, posted on June 11, 2016 at 12:49:55
fantja
Audiophile

Posts: 15524
Location: Alabama
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 Thanks! for sharing. I enjoy reading these articles (in case I missed a CD or two).

 

RE: 5 Records You Should Own Article, posted on June 11, 2016 at 13:12:32
chosenhandle
Dealer

Posts: 491
Location: Minnesota
Joined: July 20, 2004
 I am really happy that you are enjoying the articles.

We are always looking for suggestions on topics, not to mention those who would like to write an article for the series. Although I really like the writers efforts so far, I want to expand our list of writers to keep a fresh view of the music genres.

I have articles lined up for the rest of the year, but will slow down a little in the summer. Rad has 4 more articles on small classical labels that I am looking forward to reading.

thanks for the kind words!

 

Re: Everest, posted on June 11, 2016 at 14:35:03
vinyl phanatic
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Posts: 1596
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 There is a lot of good information in the Everest article, but his blanket dismissal of the LPs hints of someone who has read about them more than listened to them. The problems with the vinyl (plastic?) formulations apply only to the earliest silver label pressings, and it's not unilateral. In fact, the problem with them was that the vinyl was too soft and they could deteriorate quickly, after only a few plays, especially with the heavier tracking forces common in the late 50's. It's hard to find really mint copies, but if you do, they can sound great. I have no idea where he got the "lack of bass" idea. These problems do not exist with the second "Purple Mountain" label issues, which have quieter surfaces and are much more consistently good overall. Pressings made after the demise of the original company go quickly downhill, and are the reason why anyone who started buying records in the late 60's (like me) would naturally think that Everest was a crap budget label.

He's also way off base on the reel to reel tapes. If there is one best way to hear Everest, it might be the early 2 track tapes. The first 42 classical titles were issued on 2 tracks. I have a few, and they are absolutely stunning. I have found the Ampex 4 track tapes to be pretty much awful. My best guess is that possibly they were made from the same masters as the 2 tracks, without a level adjustment, because they are often severely over-modulated (2 tracks can be recorded at a significantly higher level than 4 tracks).

As far as reissues, he is correct about the Seymour Solomon Vanguard CDs, which are great. I can't speak to HD tracks, but I did have a Classic Records LP of the Enrique Jorda 3 Cornered Hat, one of the best Eversts, IMHO. Compared to an original pressing, the surfaces were quieter, and there may have been a touch more bass, but overall, it sounded as though all of the life had been sucked out of it, not nearly as dynamic. The DCC Compact Classics LPs that I have heard are much better.

His choices of titles are fine, although they wouldn't exactly be mine. I'm not that crazy about the Boult Shostakovich 6th, from either a performance or sound viewpoint. Since no one asked, my top 5 Everests might be (in numerical order):

3003 Antill Corroboree
3004 Goossens, Respighi, Roman Festivals
3009 Stravinsky Ebony Concerto, Sym in 3 Mvmnts (particularly the Ebony Concerto)
3011 Tchaikovsky, Francesca da Rimini/Hamlet Stokowski
3057 Falla, Thee Cornered Hat, Enrique Jorda

But don't hold me to it. The list will probably be different tomorrow.


 

Yes, I did notice., posted on June 11, 2016 at 14:47:56
vinyl phanatic
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 I've always wondered whether they could have accidentally used the wrong take when they edited it together, or something like that. I know that they were on a very tight schedule making these recordings, but that piece is so short, I can't imagine why Ansermet wouldn't have just stopped when the oboe came in wrong and started over. I guess we'll never know.

The mistake notwithstanding, I do think the Dorati/LSO is better, but I also think the Dorati MSO Mercury mono is even betterer.

 

Re: Everest, posted on June 11, 2016 at 16:04:38
Kal Rubinson
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Posts: 12436
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 excellent choices, especially the Falla.

 

DCC Everest Compact Classics: Stokowski's Shosty 5th with the NYPO infinitely more interesting than Bernstein's and much, posted on June 11, 2016 at 18:30:00
jdaniel@jps.net
 better recorded. (The solo violin in the 2nd movt--wow.)

The only bummer is that the finale is just a touch underpowered, though the balmy horn solo is gorgeous. I suspect players are tired but still: an extremely refreshing take if you're bored with the piece, especially 1,2 and 3 movts. Mahler looms large, as He should.

 

Not the 70's LSO - the 60's LSO for Dorati, right? ;-), posted on June 11, 2016 at 18:31:50
Chris from Lafayette
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 Sorry - just messing with you! ;-)

 

Yeah - I was surprised he didn't include any Stokowski among his 5 main choices too, posted on June 11, 2016 at 18:38:37
Chris from Lafayette
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 He did refer to the Stokowski recordings in his "follow-on" text however.

 

Depends: Dorati is aware and awake for Mercury's Prokofiev Scythian etc. But clueless to the magic within the Firebird. , posted on June 11, 2016 at 18:46:20
jdaniel@jps.net
 What part of "case by case basis" do many on this forum not understand? : )

 

RE Maazel's famous Prokofiev Romeo: I've tried and tried to love this performance over the years but find it , posted on June 11, 2016 at 19:17:54
jdaniel@jps.net
 charmless, mechanical and cold. Prokofiev wrote actual "thrusts" into the balcony scene; I guess Maazel found the material either embarrassing or sophomoric? Having read some of his rather "groovy" essays, I can't imagine why!

I imprinted on two Boston performances, excerpts conducted by Leinsdorf and the full ballet with Ozawa. Neither conductor is known feverish, heart on sleeve interpretations, but the difference is night and day. The BSO has had a long history with this work and maybe that helps.

To be fair and balanced, Maazel at least hit it out of the park once: his Ravel L'enfant is IMHO *perfect*.

 

Ordinarily, I'd dismiss most mono recordings from consideration, but. . . , posted on June 11, 2016 at 19:20:23
Chris from Lafayette
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 . . . Decca/Universal's use of the Plangent Process in their most recent Mercury reissues has opened up a new world of appreciation of these recordings for me. I was so completely bowled over by the reissue of Dorati's (stereo) Tchaikovsky Orchestral Suites and Beethoven Eroica that I also downloaded the 24/96 incarnation of Dorati's mono Minneapolis recording of Copland's Third Symphony. Fantastic - I would hever have believed that a mono recording could so good!



I believe there has been a reissue of the Dorati/Minneapolis Nutcracker you refer to, but I can't remember if the Plangent Process was used - if so, I'd be very interested in hearing it. In the meantime, my next mono Mercury download will probably be (primarily for the Ginastera):



These latest Mercury reissues sound so good to me, that (sacrilege!) I'd love to see Plangent Process re-reissues of much of the catalogue that Wilma already did yet another time around. (Wilma, forgive me!)

 

Funny - we disagree a lot! I really liked that Maazel/Cleveland R&J, posted on June 11, 2016 at 19:33:02
Chris from Lafayette
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 And I don't find it mechanical or cold at all - to me, i's a COLORFUL recording. ;-)

Lots o' good recordings of the excerpts and suites: I agree with you about Leinsdorf/BSO (but I'd also include Leinsdorf/LAPO on Sheffield), all three Skrowaczewski recordings (Mercury, Turnabout and Denon), the Litton/Bergen PO on a BIS SACD. . .

BTW, I don't know anything about the Maazel essays you refer to - could you provide more info?

 

"clueless to the magic within the Firebird", posted on June 11, 2016 at 19:49:10
Chris from Lafayette
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 I think that's a very lonely position you've staked out for yourself! ;-)

Doesn't have anything to do with a "case by case basis" however.

 

People get caught up in the audiophile hoopla, but at the end of the day, the Dorati is just not that evocative. Nt, posted on June 11, 2016 at 20:06:59
jdaniel@jps.net
 .

 

RE: Funny - we disagree a lot! I really liked that Maazel/Cleveland R&J, posted on June 11, 2016 at 20:08:47
jdaniel@jps.net
 Read his liner note to Telarc's Ring Without Words. And pass the doobie.

 

IYHO (or is it IYNSHO?) ;-), posted on June 12, 2016 at 00:03:37
Chris from Lafayette
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 Evocative of what?

 

Yes -- and here's a couple more, posted on June 12, 2016 at 06:49:50
rbolaw
 First, people here should know that Chris (vinylphanatic) is an Everest expert of the first rank from whom one can learn much.
Two more:
Vaughan Williams Symphony No. 9, Boult/London Philharmonic. The composer died the night before recording began, and Boult begins with a heartfelt spoken tribute. He had already recorded the first eight symphonies in mono for Decca, but stereo makes a big difference in this music.
Villa Lobos Uirapuru, Modinha, Prokofiev Cinderella Suite, Stokowski/Stadium Symphony (aka NY Philharmonic). Villa Lobos and Stokowski were important parts of the Everest classical series, here very effectively together. The Prokofiev Suite is one arranged by Stokowski himself, also very effectively.
Two triple plays: great music, insightful performances, and audiophile sound as good as you'll find from the late 50s.

 

"Evocative of what?" You ask. Oh, I don't know... Fire? Birds? Nt, posted on June 12, 2016 at 07:14:19
jdaniel@jps.net
 N

 

That of course was a "trick question", but. . . , posted on June 12, 2016 at 09:01:33
Chris from Lafayette
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  Since: February 6, 2012
 . . . since we're already pretty far into this thread, we should perhaps make a new thread for the subject someday. Of course, I do agree with you that music can be incredibly evocative, but in my mind, the greatest evocation which music produces is of emotional states which do not have a direct correlation to any non-musical objects or states. IOW, music, at its best, produces emotions which are unique to music - you can't get them any other way - and I say this in spite of the instances where music is clearly trying to depict something in the natural world (most easily discerned when there's a text along with the music). You mentioned fire - I don't hear that so much in the Firebird, but I do hear the "fire" origin of the motives in Wagner's Magic Fire Music for instance. But even here, the thing evoked by Wagner's music is so much more than just a direct depiction of fire.

Anyway, you may or may not agree, but, as I say, this could be an interesting discussion for later on.

 

later on definitely. Just passed your humble community on way to Giants/Dodgers game. My, posted on June 12, 2016 at 09:12:00
jdaniel@jps.net
 M

 

Ditto for the Maazel/Cleve. nt, posted on June 12, 2016 at 09:44:24
Rick W
 nt

 

If you're ever by this hamlet again - let me know - perhaps we can arrange for a listening session [nt], posted on June 12, 2016 at 10:33:39
Chris from Lafayette
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I think quite the opposite is true, posted on June 12, 2016 at 17:39:38
Analog Scott
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Posts: 9933
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 The stigma with audiophile recordings and classical music has been that there is an inverse ratio in quality. But I think there are many exceptions to this and Mercury catalog is certainly one of those exceptions. I think Dorati is absolutely terrific. I think a lot of his Tchaikovsky recordings are among the very best out there (for my tastes)

 

No. Listen to one measure of the Leinsdorf. Nt, posted on June 12, 2016 at 18:46:33
jdaniel@jps.net
 .k

 

Sorry can't jump on the Dorati Firebird bandwagon. Nt, posted on June 12, 2016 at 18:48:26
jdaniel@jps.net
 B

 

Sure, but which measure did you have in mind? [nt] ;-), posted on June 12, 2016 at 19:03:00
Chris from Lafayette
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How 'bout the first? One is fussy, no grace, freshness or charm. Cover and guess: Boston or Cleveland?, posted on June 13, 2016 at 08:34:14
jdaniel@jps.net
 https://youtu.be/LxS4_T7QTbQ


https://youtu.be/Pb31b4EQmis

I couldn't find Leinsdorf's so Ozawa will have to substitute, but it works.

 

Thanks would love it! Nt, posted on June 13, 2016 at 08:35:34
jdaniel@jps.net
 .

 

They both sounded good to me over my computer system [nt], posted on June 13, 2016 at 09:13:05
Chris from Lafayette
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I think it's the other way around, Scott -- , posted on June 13, 2016 at 12:38:42
rbolaw
 As a long-time classical LP collector, it's been clear to me that there is a prejudice in favor of certain so-called audiophile labels, possibly justified in terms of sound quality but not always justified in terms of performance. The biggest example in the negative direction is probably Columbia, deemed for the most part non-audiophile but with many of the best and most important American recordings.

It's not a simple question, since many of the so-called "budget" labels of the LP era featured not only bad sound quality but also bad performances.

But imo the biggest false bias by far is that in favor of rare LPs as opposed to common ones.

 

RE: I think it's the other way around, Scott -- , posted on June 13, 2016 at 16:28:46
Analog Scott
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 I can't say I have ever been aware of an anti Columbia bias when it comes to performances based on the poor SQ.

OTOH I think I have seen a few examples of the bias in favor of rare records.

 

I would add Tchaikovsky's Manfred., posted on June 13, 2016 at 17:33:23
Sigmund
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 Goosens, LSO. Great playing and a sonic treat.

 

I've always preferred Previn's EMI recording..., posted on June 14, 2016 at 13:30:52
Russell
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 Warmer, more supple and relaxed than the Maazel, IMO. I also imprinted on the Leinsdorf/BSO recording; it was my intro to the work and it remains a nostalgic favorite.

Russell

 

Just remember: I haven't owned a vinyl-playing apparatus since the mid-80's {nt] ;-), posted on June 14, 2016 at 21:46:43
Chris from Lafayette
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"anti Columbia bias", posted on June 15, 2016 at 07:32:42
rbolaw
 What I meant by that was, many American classical LP collectors have focused on the early RCA Living Stereo "shaded dog", Mercury Living Presence and London "blue back" labels, rather than on Columbia, when Columbia was arguably the top dog among American classical labels in its day.
Look at all the audiophile reissues for RCA, Mercury and London, and the relatively few for Columbia, for example. That's especially ironic, since I'm told the Columbia master tapes have outstanding sound and would be excellent candidates for audiophile reissue even though the original LPs may not have had the best sound.
Anyway, these things tend to correct themselves over the years.

 

Also, weren't a lot of Columbia/CBS LP's released with inverted phase?, posted on June 15, 2016 at 09:08:47
Chris from Lafayette
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 Not that it makes any difference to me (LOL!), but I appreciate that some listeners are apparently sensitive to it.

Anyway, I agree that at least some of those early stereo Columbia recordings (John McClure in charge?) sound excellent - the Bruno Walter recordings especially: Beethoven Sixth, Brahms Fourth (both of which I now have on SACD), Mahler Das Lied von der Erde (with the NYPO) - probably lots more. But I think that Columbia/CBS was also one of the first companies to foist their primitive ideas favoring multi-microphoned engineering on their musicians, especially (as I've mentioned before) in the absolutely wretched recordings produced by Andrew Kazdin, and especially with regard to his undermining of Szell's work in Cleveland.

 

Well, of course the RCAs and Mercury's have been the focus of audiophile labels, posted on June 15, 2016 at 09:37:50
Analog Scott
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Posts: 9933
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 They are better sounding recordings. There has always been a focus on SQ over performance with many audiophiles. While quantities of audiophile reissues are still not up to the same levels as for RCA, Mercury, and London/Decca they are on the rise. Personally I can't say that Columbia really stands out for me compared to the other three labels you mention when it comes to performance quality. They certainly stand up with them but I can't say they stand out. I find plenty of excellent performances on all four labels.

Of course another bias I often see is old is better than new bias. While there are plenty of excellent performances on all four of those labels there are plenty of newer performances that I like better in many cases. Performances with no cache of the golden ago of audio or the golden age of classical music performances.

 

Old is certainly not always better than new, but ..., posted on June 15, 2016 at 14:26:22
rbolaw
 for me, and others, there is a extra value in hearing a conductor or soloist who personally knew and worked with Rachmaninoff, Mahler, Strauss, Bartok, Prokofiev, Debussy, Ravel, Stravinsky, etc.

I wouldn't try to argue that those recordings are "better" than newer ones, though.

 

Re: Everest, posted on June 27, 2016 at 10:55:13
Capt-Bob
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Posts: 22
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 Glad to see people talking about Everest Records. My father worked for Belock Instrument Corp here in Queens, NYC (an electronics firm that did defense & space program contracts), which was the parent company of Everest Records. Founder & CEO Harry Belock began Everest in 1958 as a side line or "hobby". Seeing as it had two lines of records: the classical line and the "pop" line, (the latter consisting mostly of jazz and big band stuff like Charlie Barnett, Woody Herman & Russ Morgan, and, of course, Gloria Lynne, his money maker) it was destined, from day one, to be a money loosing proposition. Belock even built his own state-of-the-art recording studio in Bayside, Queens (right next to the Bayside station of the LIRR, and the building still stands today, repurposed for what I can't say). My father brought home lots of Everest LPs - I think we had a sizable chunk of their total catalog at one time - and this was essentially how I first was introduced to classical music - including the Beethoven symphonies with Krips and the LSO (still fine recordings, imho).

My top five Everest classics (at this moment in time):

1, Liszt: Concerto No 1, Hungarian Fantasia, Mephisto Waltz; Jorge Bolet, Robert Irving, Symphony of the Air.

2. Tchaikovsky: Francesca Da Rimini & Hamlet, Stokowski (still the best performances of those two works, imho)

3. Antill: Corraboree, etc; Goossens, LSO

4. Mahler: Symphony No 1; Boult, LPO

5. Mozart: Sym # 40 / Schubert Unfinished; Ludwig, LSO

I still have a number of the original LPs with original labels, liners, in my collection - WTF - almost 60 years later.

The various CD reissues ran the gamut from awful to first rate, with the Vanguard / Omega reissues of the mid 1990s getting a high thumbs up. I've heard the originally masters have, by now, been mostly lost. So, what there is out there right now is it. I see Amazon is doing CD-Rs on demand, featuring the original artwork, but the discs themselves are not so reliable actually as you have to keep inserting and ejecting the disc until it finally plays. And the sound is definitely inferior on the Amazon CD-Rs. Can't imagine what the source material is.
We learn from reading history that men learn nothing from reading history. Hegel

 

RE: 5 Records You Should Own Article, posted on August 31, 2016 at 13:53:19
chosenhandle
Dealer

Posts: 491
Location: Minnesota
Joined: July 20, 2004
 thank you for your kind words on our "5 Records You Should Own" series. We just posted the latest installment from writer Rad Bennett. This month Rad continues his promoting of small classical labels and picks the highlights from that label. This month: BIS of Sweden.

PS for those who enjoyed Wes Phillips writing, we were fortunate enough to have Wes write an article for us titled "Quiet Listening". You can find the article here: http://www.analogaudio.mn/2014/12/records-quiet-listening/

thanks again for your support. I am expecting to start posting at one article per month until next spring.

 

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