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ARSCLIST  April 2013

ARSCLIST April 2013

Subject:

Re: revisiting an old thread -- jazz anthologies

From:

Tom Fine <[log in to unmask]>

Reply-To:

Association for Recorded Sound Discussion List <[log in to unmask]>

Date:

Thu, 4 Apr 2013 13:30:13 -0400

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text/plain

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Hi Cary:

The indie labels theory about the hot-jazz revival is very interesting. Your book about Cannonball, 
which I'm about halfway through now, is what got me thinking about soul-jazz in the same light as 
acid-jazz (the two are so closely related, I think it's dumb to consider them separate "sub-genres" 
nowadays). I looked at charts in the Billboard mags easily accessible to anyone via Google Books and 
what's clear is that the kind of jazz that charted and sold many records in the 60s is for the most 
part not what shows up in anthologies. Brubeck has always shown up, because he was a campus favorite 
and therefore was noticed by academia (plus, he was a very good musician and both he and Columbia 
burnished his brand with great aplumb -- none of this is meant to detract from his success at all, 
just to be clear). But like I said, where's Cannonball? Where's Ramsey? Why is the revolution that 
Jimmy Smith started, that made the now beloved Hammond B3 organ a popular and mainstream jazz 
instrument, ignored? I would argue that soul-jazz led to acid-jazz led directly to fusion-jazz 
because once the blues were thoroughly woven back into jazz music, it was a logical leap to blend in 
rock-blues elements. And that then evolved into "smooth jazz" because fusion is what made electronic 
instruments mainstream and "smooth" was just following American rock trends in the 70s (a general 
mellowing out after the harder styles of the late 60s and early 70s).

It's also worth noting that the Hot-Jazz Revival never really died out after the initial wave. To 
this day "Riverwalk Jazz" is still funded and going on public radio and small hot-jazz combos 
(almost always old white guys nowadays) play concerts all over the place. The original hot-jazz 
music which the Revival addressed was subsequently fully canonized and will never be forgotten to 
time (indeed, look at how many of those original recordings are already in the LOC's preservation 
project, considered touchstone cultural artifacts).

So, noting all of that, why do the jazz "experts" and historians ignore both of these areas? I'd 
love some input from jazz academics or archivists on the list. And just to be crystal clear, in case 
I haven't, I'm not advocated "demoting" or not focusing on any of the many other areas and trends in 
jazz history. I'm just saying don't have blind spots, perhaps for political reasons.

-- Tom Fine

----- Original Message ----- 
From: "Cary Ginell" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Thursday, April 04, 2013 12:38 PM
Subject: Re: [ARSCLIST] revisiting an old thread -- jazz anthologies


Tom,

I agree completely with you. The 1960s marked the first time since the Swing Era that jazz permeated 
through to the mainstream, not as all-encompassing as swing did, but through the appearance on the 
pop charts of hit singles like "Mission: Impossible," "The In Crowd," "Mercy, Mercy, Mercy," Wes 
Montgomery's Verve stuff, etc. (I talk about this era in my new book on Cannonball Adderley.) Along 
with Brubeck's "Take Five," Adderley was one of the first to hit the mainstream with a jazz single 
with "African Waltz" in 1961. Some jazz historians, however, seem to be embarrassed by jazz acts 
that actually became popular in the 1960s and discount their importance or even their presence 
during this time. Because of the crossover popularity of smooth jazz, they react the same way. 
Although Kenny G makes my stomach turn, other artists, like Chris Botti and Preston Reed, actually 
did some good things in recent years. Smooth jazz, like the soul jazz of the '60s, was a portal 
through which non-jazz novices could be introduced to the music through performers that wouldn't 
alienate them.

Regarding the jazz revival of the '40s, most of this was the product of smaller labels like Jazz Man 
and Good Time Jazz, and served as a backlash to bebop. I imagine that part of the reason for 
ignoring this music was because indie labels were responsible for them. (The majors reluctantly 
latched on to the revival, but didn't have much success with it.) Swing splintered into these two 
camps (trad jazz and bebop) between World War II and the beginnings of hard bop in the early 1960s, 
but all you hear about today is Bird, Miles, and Coltrane because they were the darlings of 1950s 
jazz. I might also add that the early world music efforts of Herbie Mann and Stan Getz and the bossa 
nova movement are also excluded from these so-called representative anthologies, more detritus from 
the ill effects of Ken Burns' "Jazz," which ignored all of this, probably because the trad jazz, 
world music, and boss nova movements were all spearheaded by white performers. You'd think Wynton 
Marsalis, a traditionalist himself and the Svengali behind Burns' myopic rewriting of jazz history, 
would have embraced the coming of Lu Watters, the rediscovery of Bunk Johnson, and the British trad 
movement of the 1950s, but I have not seen acknowledgement of this period at all from him.

Cary Ginell


On Apr 4, 2013, at 9:12 AM, Tom Fine <[log in to unmask]> wrote:

> Just a quick revisit to this thread. Originally, Shai had asked about good introductory material 
> to jazz, I think for his and his children's edification. I had summarized various anthology and 
> anthology reissue series.
>
> Upon further listening, I would recommend starting in two places.
>
> The revised Smithsonian Collection of Classic Jazz, which was the first edition issued on CD and 
> was originally issued on LP and cassette in 1983, is still a very good way to look into the music. 
> It was the selection, documentation and judgement calls of Martin Williams, not a project by 
> committee of many academics and experts like the current Smithsonian Anthology. I like the idea of 
> one man (Williams, who was an expert), sharing his insights and opinions. His selections of 
> artists and songs was meant to shed light on various key styles and tunes as much as to spotlight 
> what he considered seminal artists. The book is informative and accessible. You can find used 
> copies of the CDs and LPs all over the world, never at too dear a price.
>
> I also really like the Riverside anthology, for the same reason I like the old Smithsonian 
> Collection -- it's the specific scholarship, insights and taste of individuals, in the case of 
> Riverside, Orin Keepnews and Bill Grauer. A futher element in the Riverside anthology is the fact 
> that they didn't have license to any Columbia or Victor labels, so they were mining different 
> veins, mainly Paramount and Gennett. You get to go down alleys and sideroads in the history that 
> aren't explored in the Smithsonian Collection. I also like the Riverside documentation, but the 
> reprint provided in the CD book is unreadable due to tiny, tiny text. If you have access to a 
> scanner of copier, blow up the CD pages 400% and then it's OK to read the interesting and 
> informative text without going blind.
>
> My beef with the Ken Burns Jazz 4-CD set and the new Smithsonian anthology is that they seem to be 
> focused on political correctness or maybe trying to be everything to everyone, so they don't take 
> any strong points of view and offer too much of a surface-skim of _every_ artist deemed 
> "significant", bowing to what is modern academic consensus at every turn.
>
> I have a two general beefs with all of these anthologies. First is the outright dismissal of the 
> 1940s and early 50s traditional or "hot" jazz revival movement. I suspect there's a whiff of 
> racial politics going on here because the revivalists were almost all young white guys and they 
> were reviving a style of music and catalog of tunes originated almost exclusively by black folks. 
> My case for including mention of the revivalists and a few cuts of their work is that the Swing 
> era and then the rise of R&B and rock and roll had obscured the old jazz so much that it was being 
> forgotten by the 1940s. The revivalists created the demand that caused Columbia and Victor to 
> reissue the early jazz sides in those late 78 era and early LP era collections. The "re-discovery" 
> of the original jazz music led to an ingrained respect for it that has survived to this day. The 
> Riverside anthology touches on this, and indeed Riverside was formed by two hardcore revivalists 
> and collectors.
>
> The other beef I have, stated previously, is that none of these anthologies seem to understand 
> what happened in the 60s and early 70s outside of cloistered music-nut circles and academia. The 
> "free jazz" stuff should be touched on (maybe represented by a song or two), but what caught on 
> and stuck with the public is completely ignored -- the funkier kind of jazz that morphed into 
> acid-jazz and then early fusion. Why aren't Cannonball Adderley, Ramsey Lewis, Jimmy Smith, Jimmy 
> McGriff, Groove Holmes and the other acid jazz guys (and a few gals) better represented on any of 
> these anthologies? For that matter, why isn't Blue Note and Prestige style "hard bop" better 
> represented, especially given the stature that music has gained over time? My theory is that the 
> anthology tune-pickers were in the cloistered music-nut circles listening to "free jazz" over and 
> over in their dark dorm rooms, while the wider public which was overwhelmingly enjoying the acid 
> jazz and soul-jazz artists night after night in the clubs.
>
> The new Smithsonian anthology does a fair job with fusion jazz, grabbing up what you'd expect from 
> the Sony vaults (Mahavishnu, Weather Report, "Head Hunters," "Bitches Brew") but doesn't look too 
> much further. There is also too much material from recent-vintage musicians doing absolutely 
> nothing original, just "keeping the flame." As much as I hate to mention it, the "smooth jazz" 
> guys were by far the most successful acts considered of the jazz genre over the past 20 years, and 
> they are not represented at all. I personally don't like "smooth jazz" at all, but it's a modern 
> outgrowth of jazz music, it was new and different when it started happening and it should be 
> included in a jazz anthology, given its success in the cultural marketplace (probably one Kenny G 
> or David Sanborn album sold more than everything by the late-era jazzmen included in the 
> Smithsonian anthology; popularity alone doesn't determine an artist's worth but it should count 
> for something).
>
> -- Tom Fine
>
> ----- Original Message ----- From: "Tom Fine" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Wednesday, February 27, 2013 5:55 PM
> Subject: Re: [ARSCLIST] Red Vinyl - Franklin Mint
>
>
>> Hi Shai:
>>
>> I forgot about the Ken Burns 4CD set. That's not bad overall, but it's HEAVILY weighted to Sony's 
>> archives, and the Ken Burns somewhat stuffy view of jazz. On the plus side (from my point of 
>> view), Burns loved Armstrong, Basie and Ellington so they are well represented.
>>
>> That said, check out its song list against the latest Smithsonian anthology song list:
>> http://en.wikipedia.org/wiki/Jazz:_The_Smithsonian_Anthology
>>
>> The check it against the Riverside anthology:
>> http://www.amazon.com/Riverside-History-Classic-Various-Artists/dp/B000000ZG2
>>
>> I actually don't think there's that much overlap in all those. With 12 CDs worth of material, 
>> probably about 10 CDs of unique material, you should be able to give your kids a thorough 
>> introduction. Keep the 78s for when they get older!
>>
>> One other thing that's nice about these anthologies -- if you listen in sequence, you can clearly 
>> hear the evolution of the music. So the crazier stuff from the 60s and 70s makes more sense 
>> because you've heard where it evolved from. The new Smithsonian collection does a pretty good 
>> skim of fusion jazz, I give them credit for including Mahavishnu Orchestra and Tony Williams as 
>> well as Weather Report and Herbie Hancock in the Head Hunters era.
>>
>> -- Tom Fine
>>
>>
>> ----- Original Message ----- From: "Shai Drori" <[log in to unmask]>
>> To: <[log in to unmask]>
>> Sent: Wednesday, February 27, 2013 3:57 PM
>> Subject: Re: [ARSCLIST] Red Vinyl - Franklin Mint
>>
>>
>>> Hi Tom
>>> I have loved Jazz for many years now but more as a venue seat rather than a home experience. It 
>>> is lately after buying the EMT that I began to listen a bit more. I have recorded some local 
>>> Jazz albums here and have the Ken Burns Jazz multi cd set. As for big band I know only what I 
>>> have in 78's. Great sound and I love the arrangements, but with 3 kids running around 78's are 
>>> just not possible at 3-4 minutes a side. So I want something that will give me the taste of 
>>> stuff to get to know what and who I like. This is assuming I can find a way to ship them over 
>>> here.
>>> Shai
>>> בתאריך 27/02/13 4:48 PM, ציטוט Tom Fine:
>>>> Again, one man's opinions ...
>>>>
>>>> If you want the more jazz-oriented side of jazz, stick with the Time-Life Giants of Jazz.
>>>>
>>>> If you want the "sweet music" highly-arranged side of jazz-ish Swing music, stick with the 
>>>> Reader's Digest "nostalgia sets."
>>>>
>>>> The Time-Life "Swing Era" re-creations come down toward the middle, more skewed toward 
>>>> "nostalgia" but with some very good up-tempo tunes in the mix. The advantage is high fidelity 
>>>> stereo recorded at Capitol Tower. The disadvantages were laid out by me previously.
>>>>
>>>> The Franklin Mint sets appear to be similar to the Giants of Jazz but tend to cost more and 
>>>> probably skew more "nostalgia" than the jazz side of jazz, in some cases.
>>>>
>>>> In the CD era, both Columbia and RCA put out some good single-disc and double-disc anthologies. 
>>>> GRP/Decca also put out some very good anthologies.
>>>>
>>>> If you are looking for an overall survey of jazz music, get your feet wet and see about the 
>>>> different styles, here are one man's suggestions:
>>>>
>>>> 1. The current Smithsonian Anthology represents the very surface scratch of the latest academic 
>>>> thinking about jazz. It's a very shallow but wide dive, well remastered. Current political 
>>>> correctness and faux-politeness makes it very vanilla but it still contains a hell of a lot of 
>>>> good cuts, mostly well-known and "safe bets" (which in no way makes them less good music). You 
>>>> won't find a "safer" introduction to jazz that's not deathly boring. My main beef is that jazz 
>>>> wasn't supposed to be "safe" music, it was dangerous and radical. It was punk rock in its day, 
>>>> and it was above all fun, a release from a hard life. Formalized and of the academy or archive, 
>>>> it's not fun, it's a stuffed animal. The Smithsonian book text has almost no fun and ironic 
>>>> wink in it, but the selected music, especially from the older era, is of the jazz attitude. 
>>>> They also appear to have felt forced to include too much material from the very modern era, 
>>>> which are just faint reiterations of older, better music. And they completely left out 
>>>> funk-jazz/acid-jazz, as if it never existed (it sure accounted for a lot of record sales in the 
>>>> 60s and 70s, and it's probably the most-recycled/sampled genre of jazz music).
>>>>
>>>> 2. More idiosyncratic anthologies include the Riverside 4-CD, the Folkways multi-disc series 
>>>> and the older LP-era Smithsonian anthologies. You will still find many common, well-worn tunes 
>>>> in these collections, but there are more rarities and pets of the anthologizers scattered in, 
>>>> making the sets more fun and exciting. The Riverside anthology, especially, is interesting 
>>>> because Orin Keepnews and Bill Grauer didn't have access to Victor and Columbia material, so 
>>>> they came up with a much different recorded history of jazz, and they went at it differently. 
>>>> The CD booklet is a tiny reduction of the LP books, so you need to blow it up on a copier 
>>>> unless you have superb vision. Some of the Folkways material is really good and unique because 
>>>> they tracked down and recorded the last of the last originals of some genres and trends. The 
>>>> older Smithsonian anthologies were more the work of one somewhat idiosyncratic anthologizer, so 
>>>> they sound less of an academic committee but aren't as wide-ranging as the current version.
>>>>
>>>> 3. Label-specific anthologies can also be interesting, but you're making a dive that's more 
>>>> deep than wide, exploring jazz through the lens of one label or producer.
>>>>
>>>> Any of the anthologies recommended above might offer you a wider pallet to explore.  You'll get 
>>>> better artist-specific material on the T-L Giants of Jazz albums, and perhaps Franklin Mint. If 
>>>> you _really_ love an artist, you can dive down to the last scrap of remaining recordings in 
>>>> Mosaic collections (you also get superb remastering and good booklets in classy packaging, for 
>>>> me the remastering is usually worth the price and the cutting-room floor stuff is ignored). The 
>>>> above-mentioned anthologies tend to stick close to the jazz side of jazz, but the better Swing 
>>>> and dance-band tunes are included here and there. There are also "jazz" pop crooners scattered 
>>>> here and there in these anthologies. But they are very different in composition and feeling 
>>>> from the "nostalgia" sets.
>>>>
>>>> -- Tom Fine
>>>>
>>>> ----- Original Message ----- From: "Shai Drori" <[log in to unmask]>
>>>> To: <[log in to unmask]>
>>>> Sent: Wednesday, February 27, 2013 8:47 AM
>>>> Subject: Re: [ARSCLIST] Red Vinyl - Franklin Mint
>>>>
>>>>
>>>>> I thought that the FM was made from the original recordings but on good vinyl. I'm interested 
>>>>> in both the  Big bands and the Jazz. I probably won't like all 100 discs but I'm open for 
>>>>> suggestions.
>>>>> Shai
>>>>> בתאריך 27/02/13 3:14 PM, ציטוט Tom Fine:
>>>>>> If the Franklin Mint records are made from real 78s, they might be a better place to start. 
>>>>>> Re-creations, even using original charts, are just an echo of the real deal, in my opinion. 
>>>>>> However, there are plenty of original-issue big band cuts in the Giants of Jazz series from 
>>>>>> Time Life.
>>>>>>
>>>>>> It depends on how you like to apporach the topic -- as a genre, as a time period or by 
>>>>>> specific artists. For instance, in my case, I don't like the overly-orchestrated big-band 
>>>>>> stuff starting with Whiteman and going up through the Dorseys and Glenn Miller. But I love 
>>>>>> the faster, stronger-beat stuff like Count Basie, Fletcher Henderson, Duke Ellington and now 
>>>>>> I just got McKinny's Cotton Pickers CD and love that too. I always prefer no vocals to vocals 
>>>>>> in that era, so that narrows my taste further. A friend of mine with similar tastes took that 
>>>>>> whole Swing Era set and boiled it down to the faster, least-smarmy songs, ending up with 
>>>>>> about 4 hours of really good music (about 25% of total tunes). I then hunted down original 
>>>>>> versions of all of them, so we both can hear the songs by a Hollywood band in lush stereo 
>>>>>> from the Time-Life records or in original and somewhat better-played form in 78 era sound 
>>>>>> quality.
>>>>>>
>>>>>> The problem with sets that catered to the "nostalgia" market in the 70s is that the WWII 
>>>>>> generation was old and wanted to hear "Sentimental Journey," not "Jumpin' At the Woodside." 
>>>>>> The smarmy stuff has always sounded outdated and irrelevant to me. Meanwhile, the up-tempo 
>>>>>> stuff had survived and was still being played, including by my own high school jazz band. 
>>>>>> We'd have "nostalgia night" dinner-dances and have to play the awful slow stuff, but that was 
>>>>>> the price of entree to learn the good stuff. I was friends with one of the drummers in our 
>>>>>> band and he always joked about how he had to think about a cool stream in the woods so as not 
>>>>>> to rush through the boring slow tunes. Just not something of our generation. The up-tempo 
>>>>>> stuff is still very relevant today because it's all about the beat and the riff. It's 
>>>>>> directly connected to original jazz music whereas the smarmy stuff is more connected to 
>>>>>> parlor music from the Victorian era. One man's tastes ...
>>>>>>
>>>>>> I'll also say that Time-Life did a much better job re-creating the music of the 30's and 40's 
>>>>>> than, for instance Longines Symphonette or Enoch Light in the Grand Award days. Billy May in 
>>>>>> the early 60s was one of the early guys to go back and get the real-deal charts from the old 
>>>>>> "books" of the great bands, and then use a crack Hollywood studio band to re-create the 
>>>>>> music. If he couldn't get the original charts, he listened over and over to the original 
>>>>>> recordings and wrote out the parts. It works about 85%, in my opinion. The main things you 
>>>>>> lose are the most outstanding soloists (face it, there's only one Coleman Hawkins, Lester 
>>>>>> Young, Chu Berry, Gene Krupa, Benny Goodman, etc) and the tightness of the old bands who 
>>>>>> played together night after night and were in top touring form when they'd make a day stop at 
>>>>>> a recording studio. Hollywood studio musicians can't replicate that, no matter how good their 
>>>>>> chops.
>>>>>>
>>>>>> -- Tom Fine
>>>>>>
>>>>>> ----- Original Message ----- From: "Shai Drori" <[log in to unmask]>
>>>>>> To: <[log in to unmask]>
>>>>>> Sent: Wednesday, February 27, 2013 7:39 AM
>>>>>> Subject: Re: [ARSCLIST] Red Vinyl - Franklin Mint
>>>>>>
>>>>>>
>>>>>>> I see. I was actually looking at the big band collection. It's something that I enjoy but 
>>>>>>> never had any, aside from some 78's in my collection. For someone like me that is looking 
>>>>>>> for an introduction to big bands or Jazz I thought this would be a good starter collection. 
>>>>>>> I will look into time life.
>>>>>>> Shai
>>>>>>> בתאריך 27/02/13 1:50 PM, ציטוט Tom Fine:
>>>>>>>> I'm not sure about the Franklin Mint details. If you find old US magazines from the 70s, 
>>>>>>>> there will be ads for them.
>>>>>>>>
>>>>>>>> Franklin Mint and Reader's Digest sets are what I avoid. They just clutter shelves, in my 
>>>>>>>> opinion. Whatever good material was in there has been reissued on CD or the original LP is 
>>>>>>>> more appealing. There may be some obscure completist stuff in there that hasn't been 
>>>>>>>> reissued, but that's not my bag. I'm more a collector than an accumulator.
>>>>>>>>
>>>>>>>> Time-Life sets, at least the jazz ones, are different animals. I've grabbed up quite a few 
>>>>>>>> of the Giants of Jazz series because as I said previously, very nice books and fun 
>>>>>>>> compilations. Since I'm not a collector of all those artists, in some cases these sets are 
>>>>>>>> my exposure to the artist, and they are pretty thorough anthologies vs. a 1-LP budget 
>>>>>>>> priced "greatest hits" with little descriptive text (or worse, a set of MP3 downloads with 
>>>>>>>> no text).
>>>>>>>>
>>>>>>>> The other good set T-L did was "The Swing Era," which was partially a reissue of cuts from 
>>>>>>>> the series of Billy May big band albums from Capitol in the early stereo days and also a 
>>>>>>>> lot of new material recorded by Capitol. The hardcover books are very good historical 
>>>>>>>> documents, putting swing-jazz in context to the rapid cultural, economic and industrial 
>>>>>>>> changes of the time period, with plenty of kewl Life and Time photos. That said, don't pay 
>>>>>>>> too much for those records because in just about every case, the original 78 record is 
>>>>>>>> better in every way except not being hifi stereo vs these remakes. I used the Swing Era 
>>>>>>>> sequences as a guide and created iPod playlists of the original tunes, which then makes 
>>>>>>>> reading the book all the more enjoyable because like I said, a Hollywood studio band in the 
>>>>>>>> Capitol Tower (working with the original band books, to their credit) ain't Fletcher 
>>>>>>>> Henderson, Count Basie or Benny Goodman in their primes.
>>>>>>>>
>>>>>>>> Finally, in my opinion, the best Time-Life product of them all, not a music product, is "To 
>>>>>>>> The Moon," a 6-LP book and record set produced by Mickey Kapp. I have yet to find a better 
>>>>>>>> aural/pictorial history of the U.S. space program up to the moon landing. You find this 
>>>>>>>> cheap all over the place, but often the records have been more than well-loved (ie they are 
>>>>>>>> shot). The book seems to hold up well to being appreciated.
>>>>>>>>
>>>>>>>> -- Tom Fine
>>>>>>>>
>>>>>>>> PS -- I also like the CD-era Time Life R&B series, but putting one year per CD means lots 
>>>>>>>> of fluff in some years. There was a short time when T-L was clearing inventory and these 
>>>>>>>> could be had for a buck each online, so I bought the whole series. I ended up giving away 
>>>>>>>> most of the 1960s years because I already had all the songs that I liked on other discs or 
>>>>>>>> records.
>>>>>>>>
>>>>>>>>
>>>>>>>> ----- Original Message ----- From: "Shai Drori" <[log in to unmask]>
>>>>>>>> To: <[log in to unmask]>
>>>>>>>> Sent: Tuesday, February 26, 2013 3:54 PM
>>>>>>>> Subject: Re: [ARSCLIST] Red Vinyl - Franklin Mint
>>>>>>>>
>>>>>>>>
>>>>>>>>> Never know about this collection. Is this 100 Jazz, 100 classical, 100 country, 100 big 
>>>>>>>>> band? Or was this 100 lp's total?
>>>>>>>>> Shai
>>>>>>>>> בתאריך 26/02/13 4:59 PM, ציטוט Tom Fine:
>>>>>>>>>> It seems like most of these recordings were still in print during the Franklin Mint 
>>>>>>>>>> heyday. So why would someone pay a premium price for Franklin records? I never understood 
>>>>>>>>>> that business, but they managed to stick around for quite a while. I could better 
>>>>>>>>>> understand the Time-Life sets, where they broke up DGG albums into bits and pieces to 
>>>>>>>>>> follow a theme (ie a certain composer or a certain time period in music).
>>>>>>>>>>
>>>>>>>>>> Remember the Time-Life advertising Evatone Soundsheets that were inserted into all manner 
>>>>>>>>>> of magazines back in the day? I still have the one for the Jazz series, with voice-over 
>>>>>>>>>> by Earl "Fatha" Hines. And BTW, for the casual jazz listener, those silver-box Time-Life 
>>>>>>>>>> sets can be found dirt-cheap all over the place. They are quite good anthologies, with 
>>>>>>>>>> informative biography/discogrpahy books and music spanning the entire career of the 
>>>>>>>>>> artist. Mastering was usually done by Frank Abbey. It's not a deep-dive like a Mosaic box 
>>>>>>>>>> set, but it will thoroughly introduce you to the artist. Many that you find dirt-cheap 
>>>>>>>>>> have not been over-played. I get the sense that all these subscription records just piled 
>>>>>>>>>> up in homes until the wife put her foot down and stopped the subscription. The analogy 
>>>>>>>>>> for a music-business person was the monthly NARAS order list -- prices just low enough to 
>>>>>>>>>> buy all sorts of stuff you never got to listen to or your listened once and decided it 
>>>>>>>>>> sucked.
>>>>>>>>>>
>>>>>>>>>> I guess the Franklin reissues were appealing to the same shelf-look as the leatherbound 
>>>>>>>>>> "literary classics" books sold by subscriptions for 10x the price of the same words in 
>>>>>>>>>> paperback.
>>>>>>>>>>
>>>>>>>>>> -- Tom Fine
>>>>>>>>>>
>>>>>>>>>> ----- Original Message ----- From: "Leo Gillis" <[log in to unmask]>
>>>>>>>>>> To: <[log in to unmask]>
>>>>>>>>>> Sent: Tuesday, February 26, 2013 12:41 AM
>>>>>>>>>> Subject: Re: [ARSCLIST] Red Vinyl - Franklin Mint
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>> Yes, the vinyl is a sort of brownish red. Not sure who did the pressings - some liner 
>>>>>>>>>> notes seem to
>>>>>>>>>> indicate certain discs were 'manufactured' by London records. I'm sure someone here knows 
>>>>>>>>>> the
>>>>>>>>>> answer. The pressings are very good - quiet, on heavy virgin vinyl.
>>>>>>>>>>
>>>>>>>>>> For the record, the complete list of titles and tracks is given below. There's a good 
>>>>>>>>>> amount of LSC,
>>>>>>>>>> but also a lot of Decca stuff as well.
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>> 1 A
>>>>>>>>>> Tchaikovsky / Fiedler / Boston Pops The Nutcracker: Suite
>>>>>>>>>> 1 B
>>>>>>>>>> Bizet / Munch / New Philharmonia Orchestra Carmen: Suite
>>>>>>>>>> 2 A
>>>>>>>>>> Dvorak / Toscanini / NBC Symphony Symphony No. 9 in E Minor, Op. 95 ("From the New 
>>>>>>>>>> World")
>>>>>>>>>> 2 B
>>>>>>>>>> Dvorak / Toscanini / NBC Symphony Symphony No. 9 in E Minor, Op. 95 ("From the New 
>>>>>>>>>> World")
>>>>>>>>>> 3 A
>>>>>>>>>> Beethoven / Serkin / Ormandy / Philadelphia Orchestra Piano Concerto No. 4 in G Major, 
>>>>>>>>>> Op. 58
>>>>>>>>>> 3 B
>>>>>>>>>> Beethoven / Serkin / Ormandy / Philadelphia Orchestra Piano Concerto No. 4 in G Major, 
>>>>>>>>>> Op. 58
>>>>>>>>>> 3 B
>>>>>>>>>> Mendelssohn / Serkin / Ormandy / Philadelphia Orchestra Capriccio Brillant for Piano & 
>>>>>>>>>> Orchestra,
>>>>>>>>>> Op. 22
>>>>>>>>>> 4 A
>>>>>>>>>> Mozart / Stern / Szell / Columbia Symphony Violin Concerto No. 5 in A Major, K. 219 
>>>>>>>>>> (Turkish")
>>>>>>>>>> 4 B
>>>>>>>>>> Mozart / Schnabel / Sargent / London Symphony Piano Concerto No. 21 in C Major, K. 467
>>>>>>>>>> 5 A
>>>>>>>>>> Shostakovich / Ormandy / Philadelphia Orchestra Symphony No. 1 in F Major, Op. 10
>>>>>>>>>> 5 B
>>>>>>>>>> Ravel / Boulez / New York Philharmonic Ma Mere L'Oye ("Mother Goose")
>>>>>>>>>> 6 A
>>>>>>>>>> Bernstein / New York Philharmonic Fancy Free
>>>>>>>>>> 6 B
>>>>>>>>>> Bernstein / New York Philharmonic Symphonic Dances from West Side Story / Overture to 
>>>>>>>>>> Candide
>>>>>>>>>> 7 A
>>>>>>>>>> Beethoven / Klemperer / Philharmonic Orchestra Symphony No. 3 in E-flat Major, Op. 55 
>>>>>>>>>> ("Erocia")
>>>>>>>>>> 7 B
>>>>>>>>>> Beethoven / Klemperer / Philharmonic Orchestra Symphony No. 3 in E-flat Major, Op. 55 
>>>>>>>>>> ("Erocia")
>>>>>>>>>> 8 A
>>>>>>>>>> Beethoven / Beecham / Royal Philharmonic Symphony No. 2 in D Major, Op. 36
>>>>>>>>>> 8 B
>>>>>>>>>> Beethoven / Casals / Marlboro Festival Orchestra Symphony No. 8 in F Major, Op. 93
>>>>>>>>>> 9 A
>>>>>>>>>> Rimsky-Korsakov / Beecham / Royal Philharmonic Scheherazade: Symphonic Suite, Op. 35
>>>>>>>>>> 9 B
>>>>>>>>>> Rimsky-Korsakov / Beecham / Royal Philharmonic Scheherazade: Symphonic Suite, Op. 35
>>>>>>>>>> 10 A
>>>>>>>>>> Ravel / Martinon / Orchestre de Paris Bolero
>>>>>>>>>> 10 A
>>>>>>>>>> Chabrier / Beecham / Royal Philharmonic Espana
>>>>>>>>>> 10 B
>>>>>>>>>> Tchaikovsky / Dorati / Minneapolis Symphony 1812 Ouverture Solennelle, Op. 49
>>>>>>>>>> 10 B
>>>>>>>>>> Sibelius / Barbirolli / Halle Orchestra Finlandia, Op. 26
>>>>>>>>>> 11 A
>>>>>>>>>> Schumann / Horowitz Kinderscenen, Op. 15 ("Scenes from Childhood")
>>>>>>>>>> 11 B
>>>>>>>>>> Schumann / Horowitz Kinderscenen, Op. 16
>>>>>>>>>> 12 A
>>>>>>>>>> Chopin / Horowitz Piano Sonata No. 2 in B-flat Minor, Op. 35
>>>>>>>>>> 12 B
>>>>>>>>>> Liszt / Horowitz Hungarian Rhapsody No. 19
>>>>>>>>>> 12 B
>>>>>>>>>> Rachmaninoff / Horowitz Moment Musical in B Minor, Op. 16
>>>>>>>>>> 12 B
>>>>>>>>>> Rachmaninoff / Horowitz Prelude in G-sharp Minor, Op. 32
>>>>>>>>>> 12 B
>>>>>>>>>> Rachmaninoff / Horowitz Etude-Tableau in E-flat Minor, Op. 39, No. 5
>>>>>>>>>> 13 A
>>>>>>>>>> Verdi / Price / Elias / Bjoerling / Tozzi / Reiner / Vienna Philharmonic Requiem
>>>>>>>>>> 13 B
>>>>>>>>>> Verdi / Price / Elias / Bjoerling / Tozzi / Reiner / Vienna Philharmonic Requiem
>>>>>>>>>> 14 A
>>>>>>>>>> Verdi / Price / Elias / Bjoerling / Tozzi / Reiner / Vienna Philharmonic Requiem
>>>>>>>>>> 14 B
>>>>>>>>>> Verdi / Price / Elias / Bjoerling / Tozzi / Reiner / Vienna Philharmonic Requiem
>>>>>>>>>> 15 A
>>>>>>>>>> R. Strauss / Reiner / Chicago Symphony Also Sprach Zarathustra, Op. 30
>>>>>>>>>> 15 B
>>>>>>>>>> R. Strauss / Reiner / Chicago Symphony Don Juan, Op. 20
>>>>>>>>>> 16 A
>>>>>>>>>> R. Strauss / Ormandy / Philadelphia Orchestra Ein Heldenleben, Op. 40 ("A Hero's Life")
>>>>>>>>>> 16 B
>>>>>>>>>> R. Strauss / Ormandy / Philadelphia Orchestra Ein Heldenleben, Op. 40 ("A Hero's Life")
>>>>>>>>>> 17 A
>>>>>>>>>> Liszt / Watts / Leinsdorf / London Symphony Todtentanz for Piano & Orchestra
>>>>>>>>>> 17 B
>>>>>>>>>> Franck / Watts / Leinsdorf / London Symphony Symphonic Variations for Piano & Orchestra
>>>>>>>>>> 18 A
>>>>>>>>>> Ravel / de Larrocha / Foster / London Philharmonic Piano Concerto in G Major
>>>>>>>>>> 18 B
>>>>>>>>>> Dohnanyi / Boult / Royal Philharmonic Variations on a Nursery Tune, Op. 25
>>>>>>>>>> 19 A
>>>>>>>>>> Ives / Stokowski / American Symphony Orchestra Symphony No. 4
>>>>>>>>>> 19 B
>>>>>>>>>> Ives / Stokowski / American Symphony Orchestra Symphony No. 4
>>>>>>>>>> 19 B
>>>>>>>>>> Ives / Bernstein / New York Philharmonic The Fourth of July
>>>>>>>>>> 20 A
>>>>>>>>>> Gershwin / Bernstein / New York Philharmonic Rhapsody in Blue
>>>>>>>>>> 20 B
>>>>>>>>>> Gershwin / Bernstein / New York Philharmonic An American in Paris
>>>>>>>>>> 21 A
>>>>>>>>>> Verdi / Caruso "Celeste Aida" from Aida, Act I
>>>>>>>>>> 21 A
>>>>>>>>>> Verdi / Caruso / Sembrich / Scotti / Severina "Bella figlia dell'amore" from Rigoletto, 
>>>>>>>>>> Act IV
>>>>>>>>>> 21 A
>>>>>>>>>> Leoncavallo / Caruso "Vesti la Giubba" from I Pagliacci, Act I
>>>>>>>>>> 21 A
>>>>>>>>>> Bellini / Ponselle / Metropolitan Opera Chorus "Sediziose voci; Casta diva" from Norma, 
>>>>>>>>>> Act I
>>>>>>>>>> 21 A
>>>>>>>>>> Verdi / Ponselle / Martinelli Tomb Scene: "La fatal pietra; O terra, addio" from Aida, 
>>>>>>>>>> Act IVSide
>>>>>>>>>> B: Mozart / Pinza
>>>>>>>>>> 21 A
>>>>>>>>>> Verdi / Ponselle / Martinelli "Finch' han dal vino" from Don Giovanni, Act I
>>>>>>>>>> 21 A
>>>>>>>>>> Verdi / Ponselle / Martinelli Serenata: "Deh, vieni alla finestra" from Don Giovanni, Act 
>>>>>>>>>> II
>>>>>>>>>> 21 B
>>>>>>>>>> Charpentier / Maynor "Depuis le jour" from Louise, Act III
>>>>>>>>>> 21 B
>>>>>>>>>> Mussorgsky / Chaliapin "I have attained the highest power" from Boris Godunov, Act II
>>>>>>>>>> 21 B
>>>>>>>>>> Mussorgsky / Chaliapin "Ah, I am sitting" from Boris Godunov, Act II
>>>>>>>>>> 21 B
>>>>>>>>>> Mussorgsky / Chaliapin Farewell, Prayer and Death of Boris from Boris Godunov, Act IV
>>>>>>>>>> 22 A
>>>>>>>>>> Wagner / Melchoir / Ormandy / Philadelphia Orchestra Forging Song: "Nothung! Nothung!" 
>>>>>>>>>> from
>>>>>>>>>> Siegfried, Act I
>>>>>>>>>> 22 A
>>>>>>>>>> Wagner / Traubel / Melchior / Toscanini / NBC Symphony "Ein Schwert verhiess mir der 
>>>>>>>>>> Vater" from
>>>>>>>>>> Die Walkure, Act I, Scene 3Side B: Wagner / Flagstad / Furtwangler / Philharmonia 
>>>>>>>>>> Orchestra
>>>>>>>>>> 22 A
>>>>>>>>>> Wagner / Traubel / Melchior / Toscanini / NBC Symphony Immolation Scene from 
>>>>>>>>>> Gotterdammerung, Act
>>>>>>>>>> III
>>>>>>>>>> 22 B
>>>>>>>>>> Wagner / Farrell / Munch / Boston Symphony Liebestod from Tristan und Isolde, Act III
>>>>>>>>>> 23 A
>>>>>>>>>> Berlioz / Beecham / Royal Philharmonic Royal Hunt and Storm from Les Troyens
>>>>>>>>>> 23 A
>>>>>>>>>> Mussorgsky / Stokowski / London Symphony Night on Bald Mountain
>>>>>>>>>> 23 B
>>>>>>>>>> Borodin / Solti / London Symphony Overture and Polovtsian Dances from Prince Igor
>>>>>>>>>> 24 A
>>>>>>>>>> Offenbach / Fiedler / Boston Pops Gaite Parisienne
>>>>>>>>>> 24 B
>>>>>>>>>> Offenbach / Fiedler / Boston Pops Gaite Parisienne
>>>>>>>>>> 25 A
>>>>>>>>>> Sibelius / Heifetz / Beecham / London Philharmonic Violin Concerto in D Minor, Op. 47
>>>>>>>>>> 25 B
>>>>>>>>>> Rachmaninoff / Rubinstein / Reiner / Chicago Symphony Rhapsody on a Theme of Paganini for 
>>>>>>>>>> Piano &
>>>>>>>>>> Orchestra, Op. 43
>>>>>>>>>> 26 A
>>>>>>>>>> Rachmaninoff / Ashkenazy / Ormandy / Philadelphia Orchestra Piano Concerto No. 3 in D 
>>>>>>>>>> Minor, Op. 30
>>>>>>>>>> 26 B
>>>>>>>>>> Rachmaninoff / Ashkenazy / Ormandy / Philadelphia Orchestra Piano Concerto No. 3 in D 
>>>>>>>>>> Minor, Op. 30
>>>>>>>>>> 27 A
>>>>>>>>>> Handel / Marriner / Academy of St. Martin-in-the-Fields Music for the Royal Fireworks
>>>>>>>>>> 27 B
>>>>>>>>>> Handel / Briggs / Boult / London Philharmonic Organ Concerto No. 13 in F Major ("The 
>>>>>>>>>> Cuckoo and the
>>>>>>>>>> Nightingale")
>>>>>>>>>> 27 B
>>>>>>>>>> Haydn / Andre / Guschlbauer / Bamberg Symphony Orchestra Trumpet Concerto in E-flatRecord 
>>>>>>>>>> 28:
>>>>>>>>>> 28 A
>>>>>>>>>> Holst / Boult / New Philharmonia Orchestra The Planets, Op. 32
>>>>>>>>>> 28 B
>>>>>>>>>> Holst / Boult / New Philharmonia Orchestra The Planets, Op. 32
>>>>>>>>>> 29 A
>>>>>>>>>> Elgar / Menuhin / London Symphony Violin Concerto in B Minor, Op. 61
>>>>>>>>>> 29 B
>>>>>>>>>> Elgar / Menuhin / London Symphony Violin Concerto in B Minor, Op. 61
>>>>>>>>>> 30 A
>>>>>>>>>> Khacharurian / Oistrakh / Moscow Radio Symphony Orchestra Violin Concerto in D Minor
>>>>>>>>>> 30 B
>>>>>>>>>> Khacharurian / Oistrakh / Moscow Radio Symphony Orchestra Violin Concerto in D Minor
>>>>>>>>>> 31 A
>>>>>>>>>> Delibes / Monteux / Boston Symphony Sylvia (Excerpts)
>>>>>>>>>> 31 B
>>>>>>>>>> Debussy / Monteux / Boston Symphony Nocturnes
>>>>>>>>>> 32 A
>>>>>>>>>> Ravel / Monteux / London Symphony / Chorus of the Royal Opera House Daphnis et Chloe
>>>>>>>>>> 32 B
>>>>>>>>>> Ravel / Monteux / London Symphony / Chorus of the Royal Opera House Daphnis et Chloe
>>>>>>>>>> 33 A
>>>>>>>>>> Beethoven / Serkin / Bernstein / New York Philharmonic Piano Concerto No. 5 in E-flat, 
>>>>>>>>>> Op. 73
>>>>>>>>>> 33 B
>>>>>>>>>> Beethoven / Serkin / Bernstein / New York Philharmonic Piano Concerto No. 5 in E-flat, 
>>>>>>>>>> Op. 73
>>>>>>>>>> 34 A
>>>>>>>>>> Schubert / Krips / London Symphony Symphony No. 9 in C Major ("The Great")
>>>>>>>>>> 34 B
>>>>>>>>>> Schubert / Krips / London Symphony Symphony No. 9 in C Major ("The Great")
>>>>>>>>>> 35 A
>>>>>>>>>> Bach / Britten / English Chamber Orchestra Brandenburg Concerto No. 2 in F Major, BWV 
>>>>>>>>>> 1047
>>>>>>>>>> 35 A
>>>>>>>>>> Bach / Britten / English Chamber Orchestra Brandenburg Concerto No. 3 in g Major, BWV 
>>>>>>>>>> 1048
>>>>>>>>>> 35 B
>>>>>>>>>> Bach / Britten / English Chamber Orchestra Brandenburg Concerto No. 5 in D Major, BWV 
>>>>>>>>>> 1050
>>>>>>>>>> 36 A
>>>>>>>>>> Vivaldi / Zukerman / English Chamber Orchestra The Four Seasons, Op. 8
>>>>>>>>>> 36 B
>>>>>>>>>> Vivaldi / Zukerman / English Chamber Orchestra The Four Seasons, Op. 8
>>>>>>>>>> 37 A
>>>>>>>>>> Brahms / Karajan / Vienna Philharmonic Symphony No. 1 in C Minor, Op. 68
>>>>>>>>>> 37 B
>>>>>>>>>> Brahms / Karajan / Vienna Philharmonic Symphony No. 1 in C Minor, Op. 68
>>>>>>>>>> 38 A
>>>>>>>>>> Haydn / Szell / Cleveland Orchestra Symphony No. 95 in C Minor
>>>>>>>>>> 38 B
>>>>>>>>>> Haydn / Szell / Cleveland Orchestra Symphony No. 96 in D Major ("Miracle")
>>>>>>>>>> 39 A
>>>>>>>>>> Tchaikovsky / Szell / London Symphony Symphony No. 4 in F Minor, Op. 36
>>>>>>>>>> 39 B
>>>>>>>>>> Tchaikovsky / Szell / London Symphony Symphony No. 4 in F Minor, Op. 36
>>>>>>>>>> 40 A
>>>>>>>>>> Tchaikovsky / Stokowski / New Philharmonia Orchestra Symphony No. 5 in E Minor, Op. 64
>>>>>>>>>> 40 B
>>>>>>>>>> Tchaikovsky / Stokowski / New Philharmonia Orchestra Symphony No. 5 in E Minor, Op. 64
>>>>>>>>>> 41 A
>>>>>>>>>> Dvorak / Casals / Szell / Czech Philharmonic Cello Concerto in B Minor, Op. 104
>>>>>>>>>> 41 B
>>>>>>>>>> Dvorak / Casals / Szell / Czech Philharmonic Cello Concerto in B Minor, Op. 104
>>>>>>>>>> 41 B
>>>>>>>>>> Mozart / Brian / Karajan / Philharmonia Orchestra Horn Concerto No. 3 in E-flat, K. 447
>>>>>>>>>> 42 A
>>>>>>>>>> Brahms / Curzon / Szell / London Symphony Piano Concerto No. 1 in D Minor, Op. 15
>>>>>>>>>> 42 B
>>>>>>>>>> Brahms / Curzon / Szell / London Symphony Piano Concerto No. 1 in D Minor, Op. 15
>>>>>>>>>> 43 A
>>>>>>>>>> Mozart / Szell / Cleveland Orchestra Symphony No. 40 in G Minor, K. 550
>>>>>>>>>> 43 B
>>>>>>>>>> Schubert / Beecham / Royal Philharmonic Symphony No. 5 in B-flat Major
>>>>>>>>>> 44 A
>>>>>>>>>> Bizet / Rodzinski / New York Philharmonic Symphony in C Major
>>>>>>>>>> 44 B
>>>>>>>>>> Mendelssohn / Casals / Marlboro Festival Orchestra Symphony No. 4 in A Major, Op. 90 
>>>>>>>>>> ("Italian")
>>>>>>>>>> 45 A
>>>>>>>>>> Mozart / Toscanini / NBC Symphony Symphony No. 41 in C Major, K. 551
>>>>>>>>>> 45 B
>>>>>>>>>> Debussy / Toscanini / NBC Symphony La Mer
>>>>>>>>>> 46 A
>>>>>>>>>> Mussorgsky / Horowitz Pictures at an Exhibition (Edited by Vladimir Horowitz)
>>>>>>>>>> 46 B
>>>>>>>>>> Mussorgsky / Toscanini / NBC Symphony Pictures at an Exhibition (Orchestrated by Maurice 
>>>>>>>>>> Ravel)
>>>>>>>>>> 47 A
>>>>>>>>>> Wagner / Szell / Cleveland Orchestra Great Orchestral Highlights from The Ring of the 
>>>>>>>>>> Nibelungs
>>>>>>>>>> 47 B
>>>>>>>>>> Wagner / Szell / Cleveland Orchestra Great Orchestral Highlights from The Ring of the 
>>>>>>>>>> Nibelungs
>>>>>>>>>> 48 A
>>>>>>>>>> Stravinsky / Columbia Symphony The Firebird
>>>>>>>>>> 48 B
>>>>>>>>>> Stravinsky / Columbia Symphony The Firebird
>>>>>>>>>> 49 A
>>>>>>>>>> J. Strauss / Boskovsky / Vienna Philharmonic The Blue Danube, Op. 314
>>>>>>>>>> 49 A
>>>>>>>>>> J. Strauss / Boskovsky / Vienna Philharmonic Emperor Waltz, Op. 437
>>>>>>>>>> 49 A
>>>>>>>>>> J. Strauss / Boskovsky / Vienna Philharmonic Tritsch-Tratsch, Op. 214 (Polka)
>>>>>>>>>> 49 B
>>>>>>>>>> J. Strauss / Fiedler / Boston Pops Overture to Die Fledermaus
>>>>>>>>>> 49 B
>>>>>>>>>> J. Strauss / Fiedler / Boston Pops Tales from the Vienna Woods, Op. 325
>>>>>>>>>> 49 B
>>>>>>>>>> J. Strauss / Fiedler / Boston Pops Overture to The Gypsy Baron
>>>>>>>>>> 50 A
>>>>>>>>>> Beehthoven / Szell / Cleveland Orchestra Leonore Overture No. 3, Op. 72a
>>>>>>>>>> 50 A
>>>>>>>>>> Mendelssohn / Szell / Cleveland Orchestra A Midsummer Night's Dream, Op. 21 
>>>>>>>>>> (Overture)Side B: Weber
>>>>>>>>>> / Toscanini / NBC Symphony
>>>>>>>>>> 50 A
>>>>>>>>>> Mendelssohn / Szell / Cleveland Orchestra Overture to Der Freischutz
>>>>>>>>>> 50 B
>>>>>>>>>> Weber / Solti / Chicago Symphony Overture to Oberon
>>>>>>>>>> 50 B
>>>>>>>>>> Brahms / Beecham / Royal Philharmonic Academic Festival Overture, Op. 80
>>>>>>>>>> 51 A
>>>>>>>>>> Britten / Vishnevskaya / Pears / Fischer-Dieskau / London Symphony War Requiem, Op. 66
>>>>>>>>>> 51 B
>>>>>>>>>> Britten / Vishnevskaya / Pears / Fischer-Dieskau / London Symphony War Requiem, Op. 66
>>>>>>>>>> 52 A
>>>>>>>>>> Britten / Vishnevskaya / Pears / Fischer-Dieskau / London Symphony War Requiem, Op. 66
>>>>>>>>>> 52 B
>>>>>>>>>> Britten / Vishnevskaya / Pears / Fischer-Dieskau / London Symphony War Requiem, Op. 66
>>>>>>>>>> 53 A
>>>>>>>>>> Schubert / Schnabel / Pro Arte Quartet Piano Quintet in A Major, Op. 114 ("Trout")
>>>>>>>>>> 53 B
>>>>>>>>>> Schubert / Schnabel / Pro Arte Quartet Piano Quintet in A Major, Op. 114 ("Trout")
>>>>>>>>>> 54 A
>>>>>>>>>> Schubert / Stern / Rose / Istomin Trio No. 1 in B-flat Major for Piano, Violin and Cello, 
>>>>>>>>>> Op. 99
>>>>>>>>>> 54 B
>>>>>>>>>> Schubert / Stern / Rose / Istomin Trio No. 1 in B-flat Major for Piano, Violin and Cello, 
>>>>>>>>>> Op. 99
>>>>>>>>>> 55 A
>>>>>>>>>> Vaughan Williams / Boult / London Philharmonic Fantasia on a Theme by Thomas Tallis
>>>>>>>>>> 55 A
>>>>>>>>>> Delius/ Beecham / Royal Philharmonic Brigg Fair: An English Rhapsody
>>>>>>>>>> 55 B
>>>>>>>>>> Elgar / Barenboim / London Philharmonic Enigma Variations, Op. 36
>>>>>>>>>> 56 A
>>>>>>>>>> Sibelius / Barbirolli / Halle Orchestra Symphony No. 2 in D Major, Op. 43
>>>>>>>>>> 56 B
>>>>>>>>>> Sibelius / Barbirolli / Halle Orchestra Symphony No. 2 in D Major, Op. 43
>>>>>>>>>> 56 B
>>>>>>>>>> Sibelius / Barbirolli / Halle Orchestra The Swan of Tuonela (Lemminkainen Legend, Op. 22 
>>>>>>>>>> No. 3)
>>>>>>>>>> 57 A
>>>>>>>>>> Ravel / Rubinstein Valses Nobles et Sentimentales
>>>>>>>>>> 57 A
>>>>>>>>>> Chopin / Rubinstein Polonaise No. 6 in A-flat, Op. 53
>>>>>>>>>> 57 B
>>>>>>>>>> Grieg / Rubinstein Lyric Pieces
>>>>>>>>>> 58 A
>>>>>>>>>> Chopin / Rubinstein / Ormandy / Philadelphia Orchestra Piano Concerto No. 2 in F Minor, 
>>>>>>>>>> Op. 21
>>>>>>>>>> 58 B
>>>>>>>>>> Saint-Saens / Rubinstein / Ormandy / Philadelphia Orchestra Piano Concerto No. 2 in G 
>>>>>>>>>> Minor, Op. 22
>>>>>>>>>> 58 B
>>>>>>>>>> Chabrier / Rubinstein / Ormandy / Philadelphia Orchestra Scherzo-Valse
>>>>>>>>>> 59 A
>>>>>>>>>> Beethoven / Walter / Columbia Symphony Symphony No. 6 in F Major, Op. 68 ("Pastoral")
>>>>>>>>>> 59 B
>>>>>>>>>> Beethoven / Walter / Columbia Symphony Symphony No. 6 in F Major, Op. 68 ("Pastoral")
>>>>>>>>>> 60 A
>>>>>>>>>> Mahler / Walter / Columbia Symphony Symphony No. 1 in D Major, Op. 68 ("The Titan")
>>>>>>>>>> 60 B
>>>>>>>>>> Mahler / Walter / Columbia Symphony Symphony No. 1 in D Major, Op. 68 ("The Titan")
>>>>>>>>>> 61 A
>>>>>>>>>> Harris / Ormandy / Philadelphia Orchestra Symphony No. 3 (In One Movement)
>>>>>>>>>> 61 B
>>>>>>>>>> Hindemith / Ormandy / Philadelphia Orchestra Mathis der Maler
>>>>>>>>>> 62 A
>>>>>>>>>> Prokofiev / Hale / Koussevitzky / Boston Symphony Peter and the Wold, Op. 67
>>>>>>>>>> 62 B
>>>>>>>>>> Prokifiev / Koussevitzky / Boston Symphony Classical Symphony in D Major, Op. 25
>>>>>>>>>> 62 B
>>>>>>>>>> Prokifiev / Koussevitzky / Boston Symphony Lieutenant Kije, Op. 60
>>>>>>>>>> 63 A
>>>>>>>>>> Brahms / Richter / Leinsdorf / Chicago Symphony Piano Concerto No. 2 in B-flat, Op. 83
>>>>>>>>>> 63 B
>>>>>>>>>> Brahms / Richter / Leinsdorf / Chicago Symphony Piano Concerto No. 2 in B-flat, Op. 83
>>>>>>>>>> 64 A
>>>>>>>>>> Brahms / Kreisler / Blech / Orchestra of the Berlin State Opera Violin Concerto in D, Op. 
>>>>>>>>>> 77
>>>>>>>>>> 64 B
>>>>>>>>>> Brahms / Kreisler / Blech / Orchestra of the Berlin State Opera Violin Concerto in D, Op. 
>>>>>>>>>> 77
>>>>>>>>>> 64 B
>>>>>>>>>> Brahms / Toscanini / BBC Symphony Tragic Overture, Op. 81
>>>>>>>>>> 65 A
>>>>>>>>>> Franck / Monteux / Chicago Symphony Symphony in D Minor
>>>>>>>>>> 65 B
>>>>>>>>>> Franck / Monteux / Chicago Symphony Symphony in D Minor
>>>>>>>>>> 66 A
>>>>>>>>>> Grieg / Beecham / Royal Philharmonic Music from Peer Gynt
>>>>>>>>>> 66 B
>>>>>>>>>> Grieg / Beecham / Royal Philharmonic Music from Peer Gynt
>>>>>>>>>> 67 A
>>>>>>>>>> Bach / Landowska Goldberg Variations (Aria and 30 Variations)
>>>>>>>>>> 67 B
>>>>>>>>>> Bach / Landowska Goldberg Variations (Aria and 30 Variations)
>>>>>>>>>> 68 A
>>>>>>>>>> Monteverdi / Boulanger "Hor che'l ciel e la terra"
>>>>>>>>>> 68 A
>>>>>>>>>> Monteverdi / Boulanger "Lasciatemi morire"
>>>>>>>>>> 68 A
>>>>>>>>>> Monteverdi / Boulanger "Zefiro torna"
>>>>>>>>>> 68 A
>>>>>>>>>> Monteverdi / Boulanger "Ardo"
>>>>>>>>>> 68 B
>>>>>>>>>> Monteverdi / Boulanger "Ohime dov'e il mio ben?"
>>>>>>>>>> 68 B
>>>>>>>>>> Monteverdi / Boulanger "Chiome d'oro"
>>>>>>>>>> 68 B
>>>>>>>>>> Monteverdi / Boulanger "ll balo dell' ingrate"
>>>>>>>>>> 68 B
>>>>>>>>>> Monteverdi / Boulanger "Amor (Lamento della Ninfa)
>>>>>>>>>> 68 B
>>>>>>>>>> Monteverdi / Boulanger "Ecco mormorar i'onde"
>>>>>>>>>> 69 A
>>>>>>>>>> Rachmaninoff / Stokowski / Philadelphia Orchestra Piano Concerto No. 2 in C Minor, Op. 18
>>>>>>>>>> 69 B
>>>>>>>>>> Prokofiev / Coppola / London Symphony Piano Concerto No. 3 in C Major, Op. 26
>>>>>>>>>> 70 A
>>>>>>>>>> Brahms / Oistrakh / Rostropovich / Szell / Cleveland Orchestra Double Concerto in A 
>>>>>>>>>> Minor, Op. 102
>>>>>>>>>> 70 B
>>>>>>>>>> Brahms / Oistrakh / Rostropovich / Szell / Cleveland Orchestra Double Concerto in A 
>>>>>>>>>> Minor, Op. 102
>>>>>>>>>> 71 A
>>>>>>>>>> Beethoven / Szell / Cleveland Orchestra Symphony No. 5 in C Minor, Op. 67
>>>>>>>>>> 71 B
>>>>>>>>>> Beethoven / Walter / Columbia Symphony Symphony No. 4 in B-flat Major, Op. 60
>>>>>>>>>> 72 A
>>>>>>>>>> Beethoven / Toscanini / New York Philharmonic Symphony No. 7 in A Major, Op. 92
>>>>>>>>>> 72 B
>>>>>>>>>> Beethoven / Toscanini / New York Philharmonic Symphony No. 7 in A Major, Op. 92
>>>>>>>>>> 73 A
>>>>>>>>>> Copeland / Bernstein / New York Philharmonic Appalachian Spring
>>>>>>>>>> 73 B
>>>>>>>>>> Copeland / Bernstein / New York Philharmonic Four Dance Episodes from Rodeo
>>>>>>>>>> 74 A
>>>>>>>>>> Fella / de Los Angeles / Fruhbeck de Burgos / Philharmonia Orchestra The Three-Cornered 
>>>>>>>>>> Hat
>>>>>>>>>> 74 B
>>>>>>>>>> Fella / de Los Angeles / Fruhbeck de Burgos / Philharmonia Orchestra The Three-Cornered 
>>>>>>>>>> Hat
>>>>>>>>>> 75 A
>>>>>>>>>> Side A: Berlioz / Ansermet / L'Orchestre de la Suisse Romande Le Corsaire Overture, Op. 
>>>>>>>>>> 21
>>>>>>>>>> 75 A
>>>>>>>>>> Side AB: Berlioz / Ansermet / L'Orchestre de la Suisse Romande Symphonie fantastique, Op. 
>>>>>>>>>> 14
>>>>>>>>>> 75 B
>>>>>>>>>> Berlioz / Ansermet / L'Orchestre de la Suisse Romande Symphonie fantastique, Op. 14
>>>>>>>>>> 76 A
>>>>>>>>>> Berlioz / Primrose / Munch / Boston Symphony Harold in Italy, Op. 16
>>>>>>>>>> 76 B
>>>>>>>>>> Berlioz / Primrose / Munch / Boston Symphony Harold in Italy, Op. 16
>>>>>>>>>> 77 A
>>>>>>>>>> Brahms / Monteux / Vienna Philharmonic Symphony No. 2 in D Major, Op. 73
>>>>>>>>>> 77 B
>>>>>>>>>> Brahms / Monteux / Vienna Philharmonic Symphony No. 2 in D Major, Op. 73
>>>>>>>>>> 78 A
>>>>>>>>>> Schumann / Szell / Cleveland Orchestra Symphony No. 2 in C Major, Op. 61
>>>>>>>>>> 78 B
>>>>>>>>>> Schumann / Szell / Cleveland Orchestra Symphony No. 2 in C Major, Op. 61
>>>>>>>>>> 79 A
>>>>>>>>>> Schumann / Lipatti / Karajan / Philharmonia Orchestra Piano Concerto in A Minor, Op. 54
>>>>>>>>>> 79 B
>>>>>>>>>> Grieg / Lipatti / Galliera / Philharmonia Orchestra Piano Concerto in A Minor, Op. 16
>>>>>>>>>> 80 A
>>>>>>>>>> Tchaikovsky / Cliburn / Kondrashin / Symphony Orchestra Piano Concerto No. 1 in B-flat 
>>>>>>>>>> Minor, Op.
>>>>>>>>>> 23
>>>>>>>>>> 80 B
>>>>>>>>>> Tchaikovsky / Cliburn / Kondrashin / Symphony Orchestra Piano Concerto No. 1 in B-flat 
>>>>>>>>>> Minor, Op.
>>>>>>>>>> 23
>>>>>>>>>> 81 A
>>>>>>>>>> Handel / Mackerras / English Chamber Orchestra Highlights from Messiah
>>>>>>>>>> 81 B
>>>>>>>>>> Handel / Mackerras / English Chamber Orchestra Highlights from Messiah
>>>>>>>>>> 82 A
>>>>>>>>>> Bach / Klemperer / Philharmonia Orchestra Arias from the St. Matthew Passion
>>>>>>>>>> 82 B
>>>>>>>>>> Bach / Klemperer / Philharmonia Orchestra Arias from the St. Matthew Passion
>>>>>>>>>> 83 A
>>>>>>>>>> Stravinsky / Bernstein / New York Philharmonic Le Sacre du Printemps (The Rite of Spring)
>>>>>>>>>> 83 B
>>>>>>>>>> Stravinsky / Bernstein / New York Philharmonic Le Sacre du Printemps (The Rite of Spring)
>>>>>>>>>> 84 A
>>>>>>>>>> Prokofiev / Koussevitzky / Boston Symphony Symphony No. 5 in B-flat, Op. 100
>>>>>>>>>> 84 B
>>>>>>>>>> Prokofiev / Koussevitzky / Boston Symphony Symphony No. 5 in B-flat, Op. 100
>>>>>>>>>> 85 A
>>>>>>>>>> Mozart / Furtwangler / Soloists of the Vienna Philharmonic Serenade No. 10 in B-flat 
>>>>>>>>>> Major, K. 361
>>>>>>>>>> 85 B
>>>>>>>>>> Mozart / Furtwangler / Soloists of the Vienna Philharmonic Serenade No. 10 in B-flat 
>>>>>>>>>> Major, K. 361
>>>>>>>>>> 86 A
>>>>>>>>>> Schubert / Casals / Stern / Schneider / Katims / Tortelier Quintet in C Major for 
>>>>>>>>>> Strings, Op. 163
>>>>>>>>>> 86 B
>>>>>>>>>> Schubert / Casals / Stern / Schneider / Katims / Tortelier Quintet in C Major for 
>>>>>>>>>> Strings, Op. 163
>>>>>>>>>> 87 A
>>>>>>>>>> Beethoven / Szell / Cleveland Orchestra Symphony No. 1 in C Major, Op. 21
>>>>>>>>>> 87 B
>>>>>>>>>> Beethoven / Furtwangler / Bayreuth Festival Orchestra Symphony No. 9 in D Minor, Op. 125 
>>>>>>>>>> ("Choral")
>>>>>>>>>> 88 A
>>>>>>>>>> Beethoven / Furtwangler / Bayreuth Festival Orchestra Symphony No. 9 in D Minor, Op. 125 
>>>>>>>>>> ("Choral")
>>>>>>>>>> 88 B
>>>>>>>>>> Beethoven / Furtwangler / Bayreuth Festival Orchestra Symphony No. 9 in D Minor, Op. 125 
>>>>>>>>>> ("Choral")
>>>>>>>>>> 89 A
>>>>>>>>>> Dvorak / Szell / Cleveland Orchestra Symphony No. 8 in G Major, Op. 88 (formerly No. 4)
>>>>>>>>>> 89 B
>>>>>>>>>> Dvorak / Szell / Cleveland Orchestra Symphony No. 8 in G Major, Op. 88 (formerly No. 4)
>>>>>>>>>> 90 A
>>>>>>>>>> Bartok / Reiner / Chicago Symphony Concerto for Orchestra
>>>>>>>>>> 90 B
>>>>>>>>>> Bartok / Reiner / Chicago Symphony Concerto for Orchestra
>>>>>>>>>> 91 A
>>>>>>>>>> Beethoven / Stern / Rose / Istomin Trio No. 6 in B-flat Major for Piano, Violin and 
>>>>>>>>>> Cello, Op. 97
>>>>>>>>>> ("Archduke")
>>>>>>>>>> 91 B
>>>>>>>>>> Beethoven / Stern / Rose / Istomin Trio No. 6 in B-flat Major for Piano, Violin and 
>>>>>>>>>> Cello, Op. 97
>>>>>>>>>> ("Archduke")
>>>>>>>>>> 92 A
>>>>>>>>>> Brahms / Busch / Brain / Serkin Trio in E-flat Major for Piano, Violin and Horn, Op. 40
>>>>>>>>>> 92 B
>>>>>>>>>> Schumann / Serkin / Budapest String Quartet Quintet in E-flat Major for Piano and 
>>>>>>>>>> Strings, Op. 44
>>>>>>>>>> 93 A
>>>>>>>>>> Tchaikovsky / Furtwangler / Berlin Philharmonic Symphony No. 6 in B Minor, Op. 74 
>>>>>>>>>> ("Pathetique")
>>>>>>>>>> 93 B
>>>>>>>>>> Tchaikovsky / Furtwangler / Berlin Philharmonic Symphony No. 6 in B Minor, Op. 74 
>>>>>>>>>> ("Pathetique")
>>>>>>>>>> 94 A
>>>>>>>>>> Goldmark / Beecham / Royal Philharmonic Symphony No. 1 in E-flat Major, Op. 26 ("Rustic 
>>>>>>>>>> Wedding")
>>>>>>>>>> 94 B
>>>>>>>>>> Goldmark / Beecham / Royal Philharmonic Symphony No. 1 in E-flat Major, Op. 26 ("Rustic 
>>>>>>>>>> Wedding")
>>>>>>>>>> 95 A
>>>>>>>>>> Brahms / Walter / Columbia Symphony Symphony No. 3 in F Major, Op. 90
>>>>>>>>>> 95 B
>>>>>>>>>> Brahms / Walter / Columbia Symphony Symphony No. 3 in F Major, Op. 90
>>>>>>>>>> 96 A
>>>>>>>>>> Brahms / Klemperer / Philharmonia Orchestra Symphony No. 4 in E Minor, Op. 98
>>>>>>>>>> 96 B
>>>>>>>>>> Brahms / Klemperer / Philharmonia Orchestra Symphony No. 4 in E Minor, Op. 98
>>>>>>>>>> 97 A
>>>>>>>>>> Beethoven / Milstein / Leinsdorf / Philharmonia Orchestra Violin Concerto in D Major, Op. 
>>>>>>>>>> 61
>>>>>>>>>> 97 B
>>>>>>>>>> Beethoven / Milstein / Leinsdorf / Philharmonia Orchestra Violin Concerto in D Major, Op. 
>>>>>>>>>> 61
>>>>>>>>>> 98 A
>>>>>>>>>> Mendelssohn / Szigeti / Beecham / London Philharmonic Violin Concerto in E Minor, Op. 64
>>>>>>>>>> 98 B
>>>>>>>>>> Chausson / Francescatti / Bernstein / New York Philharmonic Poeme for Violin and 
>>>>>>>>>> Orchestra, Op. 25
>>>>>>>>>> 99 A
>>>>>>>>>> Mahler / Solti / Chicago Symphony Symphony No. 8 in E-flat ("Symphony of a Thousand")
>>>>>>>>>> 99 B
>>>>>>>>>> Mahler / Solti / Chicago Symphony Symphony No. 8 in E-flat ("Symphony of a Thousand")
>>>>>>>>>> 100 A
>>>>>>>>>> Mahler / Solti / Chicago Symphony Symphony No. 8 in E-flat ("Symphony of a Thousand")
>>>>>>>>>> 100 B
>>>>>>>>>> Mahler / Solti / Chicago Symphony Symphony No. 8 in E-flat ("Symphony of a Thousand")
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>> ________________________________
>>>>>>>>>> From: Roger Kulp <[log in to unmask]>
>>>>>>>>>> To: [log in to unmask]
>>>>>>>>>> Sent: Monday, February 25, 2013 1:06 AM
>>>>>>>>>> Subject: Re: [ARSCLIST] Red Vinyl
>>>>>>>>>>
>>>>>>>>>> They're more brown than red.I have not picked up one to look at in ages.The ones I recall 
>>>>>>>>>> seeing
>>>>>>>>>> were all Living Stereo titles,and Ormandy.They are almost as common at thrift stores as 
>>>>>>>>>> Firestone
>>>>>>>>>> Christmas or Herb Alpert records. Speaking of Living Stereo reissues,why is there no love 
>>>>>>>>>> for the .5
>>>>>>>>>> s? Roger
>>>>>>>>>>
>>>>>>>>>>> Date: Mon, 25 Feb 2013 00:39:06 -0500
>>>>>>>>>>> From: [log in to unmask]
>>>>>>>>>>> Subject: [ARSCLIST] Red Vinyl
>>>>>>>>>>> To: [log in to unmask]
>>>>>>>>>>>
>>>>>>>>>>> Who did the pressing of the Franklin Mint's red vinyl, a large set of which
>>>>>>>>>>> is still at my Mom's home in Florida.
>>>>>>>>>>>
>>>>>>>>>>> Best,
>>>>>>>>>>> Art (Shiffy) Shifrin
>>>>>>>>>>
>>>>>>>>>
>>>>>>>>> -- 
>>>>>>>>> בברכה,
>>>>>>>>> שי דרורי
>>>>>>>>> מומחה לשימור והמרה של אודיו וידאו וסרטים 8-35 ממ.
>>>>>>>>>
>>>>>>>>
>>>>>>>
>>>>>>> -- 
>>>>>>> בברכה,
>>>>>>> שי דרורי
>>>>>>> מומחה לשימור והמרה של אודיו וידאו וסרטים 8-35 ממ.
>>>>>>>
>>>>>>
>>>>>
>>>>> -- 
>>>>> בברכה,
>>>>> שי דרורי
>>>>> מומחה לשימור והמרה של אודיו וידאו וסרטים 8-35 ממ.
>>>>>
>>>>
>>>
>>> -- 
>>> בברכה,
>>> שי דרורי
>>> מומחה לשימור והמרה של אודיו וידאו וסרטים 8-35 ממ.
>>>
>

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