After last May's High End Munich show, Pro-Ject founder and CEO Heinz Lichtenegger invited international distributors attending the show to visit the company's brand new high-tech "green" logistics center outside of Vienna. They also toured the original Pro-Ject factory in Litovel, Czech Republic as well as the brand new factory down the road.
It's an age-old problem and a problem of old age— particularly in a cluttered listening room: you put the record on the turntable, put the jacket down and then forget where you put it. Has that ever happened to you?
Koeppel Design, maker of neat record dividers and the snazziest LP carrying bag has the solution with its new LP Block.
You've seen videos here of the world's largest audio show, "High End" Munich. Back in the 1990s, the show, held in Frankfurt's Kempinski Hotel, more closely resembled a sleepy American affair—as this vintage video demonstrates. It was a very "German" show at the time, musically and otherwise, though even then you'll hear "Take Five" and "Belafonte at Carnegie Hall". Today's High End show is an international affair.
Charles Lloyd's young group, together but a year, played this set September 8th 1966 at the Monterey Jazz Festival, opening with the title tune—actually the two-in-one "Forest Flower-Sunrise" and "Forest Flower-Sunset", both lilting, hypnotic and mesmerizing "hippie-like" tunes that presaged in its mood the next year's "Summer of Love" Monterey Pop Festival.
Bassist Scott LaFaro's death in a Geneva, New York car accident ten days after the Sunday, June 25th, 1961 recording of this Village Vanguard set did more than add a tragic luster to the story. It upended what might have been a very different track order here and on Waltz For Debby, the second record sourced using tracks recorded that day by engineer David Jones on a modified Ampex 350 using Scotch 111 tape.
Register to win a copy of Pink Floyd's The Wall 180g Vinyl LP we are giving away.
According to the company:
"Special care has been taken to replicate the original packaging. The first batch of releases, mastered by James Guthrie, Joel Plante and Bernie Grundman will be pressed on 180gram vinyl for optimum sound quality."
With its compilation-like title, black and white cover art and wide ranging artists roster, The Sound of Jazz, originally issued in 1958, is often confused with one of Columbia Records' early stereo sampler albums.