Today's Purchases (Non-classical)

[Octave]

Both excellent boxes.  If you like manouche, I can make some more recent recommendations beyond Django.

Thanks very much; let me digest this early set and I will certainly ask you for more.
I have heard differing perspectives on the available Django masterings; there is that more expensive Intégrale series, but I've also heard that the box sets from JSP were done by a student/associate (?) of John R.T. Davies, and that his work is good. 
Give me a couple months and I'll revive the manouche question in the Jazz thread.  It will be a new music to me.

[Papy Oli]

More Jazz :

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[Octave]

I found what looked like a good deal on this, so for old, pre-digital-pad times' sake, I plunked down. 
(Mine is in 5-vol. paperback, which apparently excludes some of the supplemental goodies from the hardcover edition's volume 6, such as the big chronology....this bums me out.)
I am sure he is right about absolutely everything.


Richard Taruskin: OXFORD HISTORY OF WESTERN MUSIC (5 vols., paperback)

I read Charles Rosen's long two-part review of the Taruskin history in the NYRB, skimmed over the set at a library, and felt the need to have it on the shelf.  I hope it's a good start in the survoler dept.

[Octave]

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The Byrds: COMPLETE COLUMBIA ALBUMS COLLECTION (13cd)
I was totally wild about YOUNGER THAN YESTERDAY and NOTORIOUS BYRD BROTHERS ~12 years or so ago, but oddly didn't feel moved to get deeper into their music.  Looking forward to hearing more.

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Gene Clark: NO OTHER
I wondered why I was having an impossible time not spelling his name with an 'E'....until I realized I was conflating Gene Clark and Guy Clarke, who really cannot be confused.   
That's why I kept mentioning Gene 'Byrds' Clark in the context of Townes Van Zandt.  Really irritating.  Everyone was so nice not to say anything, haha.  I will probably get Gene's WHITE LIGHT soon, as well.

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Son House: RAW DELTA BLUES (Not Now, 2cd)
I'm hoping the sound and content of this one is acceptable; it was dirt cheap.  I understand that it contains all the 'Library of Congress' recordings (~1941?) plus some other stuff.  I know and like some earlier and later recordings by him.  He really attacks his guitar, like a trap set and/or bear trap.

[71 dB]

I found a ridicuously good Bahamian funk album on Spotify and bought the CD:

The Beginning of the End - Funky Nassau

[The new erato]

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Stunningly wonderful; both.

[DavidW]

The powered sub that I ordered arrived last week.  And wow the clarity! it blends well with my bookshelves and running Audyssey Flat it feels like I'm there. 0:)

I blasted Mahler's 6th this weekend and felt those hammerblows of fate.  I have three assignments to grade today so they feel accurate.

[Octave]

The powered sub that I ordered arrived last week. [...]
I blasted Mahler's 6th this weekend and felt those hammerblows of fate. [...]

[DavidW]

Yeah just like that!

[Mirror Image]

Bought six of my favorite Rush albums:

[Geo Dude]

[Mirror Image]

Outstanding choice, Geo. One of Stanko's strongest efforts. I've listened to this album so many times.

[Geo Dude]

Outstanding choice, Geo. One of Stanko's strongest efforts. I've listened to this album so many times.

I knew you were going to like that one.

[Mirror Image]

I knew you were going to like that one.

[Papy Oli]

Those are four fantastic jazz records!     

Hope you enjoyed them.

Enjoyed samples of them enough on youtube to buy them at least - just have to wait for them to be delivered now.

Another couple ordered tonight - should be it for a little while now, jazz-wise anyway 

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[Pat B]

My Bloody Valentine: LOVELESS [Kevin Shields remasters 2012]

I saw them live recently. They are very very loud.

[Geo Dude]

[Octave]

Re: MBV:

I saw them live recently. They are very very loud.

I would say I envy you, but super-loud concerts have always irritated me too much.  Did they play the music in a straightahead way, or was there embellishment, improvisation, etc?  I've always wondered how they might replicate (or transform) the celebrated production of the LOVELESS record into a live show by a small group.  I have heard a few reports of them being the loudest band ever seen by some concertgoers, 20+ years ago, with the possible exception of Mainliner.  There's probably a feedback loop of sorts in the loudness department, as the amps must go up and up as the band members become deafer and deafer.  LOVELESS is another record whose holy-grail status I've never quite understood, not that I disliked it.  I thought I'd give it another go.

That looks awesome.  A composer friend of mine really values Haeckel's prints (?)...I need to seek out that book.

Thread duty:

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Nass el Ghiwan: CHANTS GNAWA DE MAROC (Buda Musique)
After seeing a documentary on them.  No idea how 'traditional' this particular Gnawa music is, but in the doc there was often gimbri (sic?) and banjo (a relation) employed by the group.  The music they were making ~1980 in the film seemed like a really modern hybrid music; though I only have the barest idea how tradition and modernity work in those musics.


Dorothy Love Coates: "The Best Of" (??)

One of the cornerstones of golden age gospel, this set compiles two vinyl discs originally compiled by Barret Hansen (Dr. Demento). It includes all of the famous Dorothy Love Coates songs: "That's Enough," with a searing vocal that makes Aretha sound like a poetry reciter; "99 and a Half," the model for Wilson Pickett's secular version; "Get Away Jordan" and "I'm Sealed," which kicked off the group's career; "No Hiding Place," a purely fearsome blues; and "(You Can't Hurry God) He's Right on Time," later to become the Supremes' "You Can't Hurry Love."[...]Remastered by Kirk Felton in 1991.

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Louis Armstrong & Duke Ellington: THE GREAT SUMMIT - COMPLETE SESSIONS (Blue Note, 2cd)

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Waylon Jennings: DREAMING MY DREAMS [1975]

[Pat B]

Re: MBV:
I would say I envy you, but super-loud concerts have always irritated me too much.  Did they play the music in a straightahead way, or was there embellishment, improvisation, etc?  I've always wondered how they might replicate (or transform) the celebrated production of the LOVELESS record into a live show by a small group.  I have heard a few reports of them being the loudest band ever seen by some concertgoers, 20+ years ago, with the possible exception of Mainliner.  There's probably a feedback loop of sorts in the loudness department, as the amps must go up and up as the band members become deafer and deafer.  LOVELESS is another record whose holy-grail status I've never quite understood, not that I disliked it.  I thought I'd give it another go.

I don't think you would have enjoyed it. It was the loudest show I have been to. As far as I could tell, there was no replication or transformation of the studio production. They just played the songs. I spent a while fiddling with my earplugs, trying to keep the seal tight.

I was never into their records as much as my wife was. After about an hour, both of us had had enough, so we left.

[Octave]

Re: MBV: I thought I remember a Zappa quote to the effect that a very small group of musicians with amplified instruments can approximate the ~sound of an orchestra [by means of volume]{presumably with greater control than with an orchestra, control being a cardinal Zappa virtue....fire one guy, your second- and third-fiddle problems are gone}, so that makes sense to me....sheer volume as a building block of a music.  I felt a bit that way when I saw SunnO)))) and my pants were blowing around my ankles from all the sub-bass.  Unfortunately, I'm never able to enter the ecstatic at shows like that, because I keep thinking of all the future musical and non-musical listening experiences I might be denying to myself, and the music-in-progress (at the loud show) just never seems anywhere near worth it.  I do like a lot of those "loud" musics, though, as long as I don't have to be flattened by them.

Thread duty:

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Harold Budd: THE PAVILION OF DREAMS [prod. Brian Eno, orig. released on his Obscure label, 1978]
It's New Age!

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Lee Konitz & Warne Marsh: TWO NOT ONE (Storyville, 4cd)
I never though about this one much until I belatedly realized it was (all of?) the Montmartre recordings, which a saxophonist and jazz historian friend once told me was, in his opinion, some of the finest Konitz playing ever.  "Something had opened up for him," I remember him saying.  I've heard these once and thought they were great, though it's been years...I think I last heard them as vinyl rips.  I guess the main event for me is Warne Marsh, who I find completely godhead.

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Stanley Brothers [Real Gone collection]
Albums released 1958-60.  We'll see about the sound.

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Johnny Hodges [Real Gone collection]
Ditto.

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Ben Webster [Real Gone collection]
Ditto.