Tom,

I am no way Linceford expert, but like his music very much.

As for Mosaic set, these are Decca and World Transcriptions sides:

"Record label abbreviations are as follows: Br for Brunswick; Cir for 
Circle; Cl for Classics,
Con for Conifer; Cor for Coral; Dec for Decca; FTR for First Time Records; 
MOJ for Masters
of Jazz and WT for World Transcriptions"

Quotation originated from here:

http://www.mosaicrecords.com/discography.asp?number=250-MD-CD&price=$119.00&copies=7%20CDs



I think that most of the material originated from metal parts and good test 
pressings and similar carriers.

However, I listened to whole set thoroughly and found rare samples of sound 
(and that is what you will expect from metal parts transfers).

Furthermore, most of the recordings are almost always "modulated" with very 
"small" impulse noise that is pronounced distinctly, so I found it very hard 
to listen it through headphones. IMHO, of course.


Also, on already above mentioned link it is clearly described that:

"This set brings together all the Decca studio sessions by Jimmie Lunceford 
and his Orchestra as well as most of the radio transcriptions made for the 
World Broadcasting System (A Lover's Lullaby, from Session II has eluded us 
and therefore is not included here). The discs used for this release came 
from commercially released 78s and vinyl test pressings as a majority of the 
original Decca metal parts no longer exist in the Universal Music vaults. 
The 78s that were transferred were not only from American Decca pressings 
but also British and German Brunswick as well as Australian and British 
Decca pressings that were made available to us from the collections of the 
Institute of Jazz Studies and Leon Dierckx. As for the vinyl test pressings, 
we had the good fortune of having access (through engineer Ted Kendall) to 
the collection of the late John R.T. Davies. We are also indebted to Steven 
Lasker who provided us with the unissued -C of Pigeon Walk."


Best wishes,

Milan

----- Original Message ----- 
From: "Tom Fine" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Monday, October 01, 2012 7:40 PM
Subject: [ARSCLIST] speaking of Jimmy Lunceford


> First of all, Dave Lewis, thanks for reminding me of the Mosaic set. While 
> admittedly more Lunceford than any sane person needs, it's got all the 
> good tunes well-restored, so I sprung for it.
>
> Now a question -- were Lunceford's Majestic sides new recordings of 
> material already issued on Decca (for the most part, at least based on 
> matching titles), or were these reissues from Decca masters? Any Lunceford 
> experts on-list?
>
> -- Tom Fine
>
> ----- Original Message ----- 
> From: "David Lewis" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Saturday, September 29, 2012 11:40 AM
> Subject: Re: [ARSCLIST] Why Does Take 1 of Jimmy Lunceford's "White Heat" 
> Sound This Way?
>
>
>> Carl,
>>
>> It's the slap back that interests me most. Here is a link to the "normal"
>> one: http://www.youtube.com/watch?v=yAqC1hSmNY8
>>
>> On Sat, Sep 29, 2012 at 10:23 AM, Carl Pultz <[log in to unmask]> 
>> wrote:
>>
>>> PERMISSION DENIED says mediananny. This is the USA.
>>>
>>> -----Original Message-----
>>> From: Association for Recorded Sound Discussion List
>>> [mailto:[log in to unmask]] On Behalf Of Milan P Milovanovic
>>> Sent: Saturday, September 29, 2012 10:15 AM
>>> To: [log in to unmask]
>>> Subject: Re: [ARSCLIST] Why Does Take 1 of Jimmy Lunceford's "White 
>>> Heat"
>>> Sound This Way?
>>>
>>> Here is cleaner version of the very same take:
>>>
>>> http://www.mediafire.com/?fxidx912papc04b
>>>
>>>
>>> ----- Original Message -----
>>> From: "Carl Pultz" <[log in to unmask]>
>>> To: <[log in to unmask]>
>>> Sent: Saturday, September 29, 2012 3:08 PM
>>> Subject: Re: [ARSCLIST] Why Does Take 1 of Jimmy Lunceford's "White 
>>> Heat"
>>> Sound This Way?
>>>
>>>
>>> > There's a lot going on there Dave, with the stereo LP dub adding some
>>> > artifacts. Do you mean the scrape-sounds that are modulated by loud 
>>> > peaks
>>> > or
>>> > the sort of slap-back effect, most noticeable on the drums? Might help 
>>> > to
>>> > hear take 2.
>>> >
>>> > -----Original Message-----
>>> > From: Association for Recorded Sound Discussion List
>>> > [mailto:[log in to unmask]] On Behalf Of David Lewis
>>> > Sent: Saturday, September 29, 2012 8:11 AM
>>> > To: [log in to unmask]
>>> > Subject: [ARSCLIST] Why Does Take 1 of Jimmy Lunceford's "White Heat"
>>> > Sound
>>> > This Way?
>>> >
>>> > I have parked a file of it here:
>>> > https://www.box.com/s/6hq39rgxp0nd53pnty0n
>>> >
>>> > This comes from X LP LX 3002, which was issued in 1953. It is not one 
>>> > of
>>> > Ethel Gabriel's enthusiastically skewered "simulated stereo" remixes, 
>>> > but
>>> > this weird flanging effect is in the mono original.
>>> > I used to have a buff Bluebird that had this very take on it, and when 
>>> > I
>>> > listened to it, I would think "What in the world.....??"
>>> >
>>> > It sounds like it could have been the result of two mikes out of 
>>> > phase,
>>> or
>>> > two takes cut into the same platter, but if that was the case you'd 
>>> > hear
>>> > artifacts in the trumpet solo, not the case here. There
>>> > is a more common take 2 that sounds normal. Mx. is BS-81324 according 
>>> > to
>>> > the jacket notes of LX 3002, recorded 1-26-1934.
>>> >
>>> > Uncle Dave Lewis
>>> > Lebanon, OH
>>>
>>