Michael Fremer

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Can I Have My Money Back?

Unearthed! Editor's 1977 Emerson College Television Show Appearance

Michael Fremer | Jul 25, 2015 | First Published: Jul 25, 2015 | 17 comments

Album Reviews

Unfairly Overlooked Clarinetist Gets His Due on Double Vinyl

Michael Fremer | Aug 01, 2005 | 1 comments

“Jazz” and “clarinet” usually equals Dixieland in the minds of many jazz fans, which may explain, in part, why jazz clarinetist Jimmy Guiffre, a most imaginative, and free-spirited musician failed to achieve the acclaim he deserved-not that there's anything wrong with Dixieland.

Set-Up Tips

UNI-DIN Versus Löfgren B Just to Clarify

Michael Fremer | Nov 08, 2014 | First Published: Nov 08, 2014 | 50 comments

In the Rocky Mountain Wrap Up I wrote about the UNI-DIN curve versus Löfgren but a picture (or a graph in this case prepared by WAM Engineering's Wally Malewicz) is worth a 1000 words.

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News

United Record Pressing Acquires Bill Smith Michael Fremer | views-field-created"> Jun 08, 2016 | First Published: Jun 08, 2016 | 9 comments

Here's a press release from URP announcing the company's acquisition of Bill Smith Custom Records.

URP because we probably remain on the company's "do not contact" list.

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News

Universal Music's New "Pink Moon" LP Will Use Optimal Pressing Michael Fremer | views-field-created"> Feb 15, 2013 | 5 comments

If you didn't buy the deluxe Pink Moon box set reviewed here by Randy Wells, you are in luck: the upcoming domestic UMG standard reissue, selling for far less, will still be pressed at Optimal in Germany, mastered AAA at Abbey Road, just like the deluxe box set's LP.

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News

Unreleased Art Blakey & The Jazz Messengers' Blue Note Just Coolin' Coming AAA on April 24th Michael Fremer | views-field-created"> Mar 20, 2020 | First Published: Mar 20, 2020 | 10 comments

Not sure what's more amazing: how many recordings Alfred Lion produced for Blue Note, or how many great ones have remained in the vaults. Over the past few years, numerous unreleased Blue Notes have finally been released and none are sub-par "leftovers".

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AAA Vinyl Album Reviews

Unreleased Blue Note Title Just Coolin' In the Can For 60 Years Finally Surfaces Michael Fremer | views-field-created"> Jul 28, 2020 | 13 comments

This previously unreleased March 9th 1959 session recorded at Rudy Van Gelder’s Hackensack home studio is a “must have” for Blue Note “completists”, especially for those with an affinity for car and plane crash videos. If you are just getting into the rich Blue Note catalog, your money is best spent elsewhere as this session, despite the stellar group, often sounds listless and forced. Grooves get glossed over in favor of speed.

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Album Reviews

Unreleased, Intimate Ella! Michael Fremer | views-field-created"> Jun 01, 2010 | 0 comments

Producer and concert promoter Norman Granz signed Ella Fitzgerald to his Verve label back in 1956 and thus began a series of stellar studio albums, orchestrated songbooks and live set releases, many of which have been reissued on both CD and deluxe vinyl.

Album Reviews

Unschooled 12 Stringer Issues Cosmic Statement

Michael Fremer | Oct 01, 2007 | 0 comments

For those of you who know the pleasures of guitarist John Fahey’s Takoma recordings (Fahey was a rabid audiophile, BTW), or Robbie Basho’s, or even Sandy Bull’s extraordinary experiments in guitar-based world music fusion on Vanguard, James Blackshaw may already be on your radar screen, as may some of the other contemporary guitar experimenters who fly equally low beneath the mainstream musical radar screen, but until this LP, I’d not encountered the 24 year old Blackshaw who’s been recording and performing since 2003.

Album Reviews

Unusual Session, Unusual Record!

Michael Fremer | Dec 01, 2010 | 1 comments

The CTI record label started by producer Creed Taylor in 1968 didn’t immediately get the respect it deserved from jazz snobs who found its musical output as glitzy as its glossy cover art. It was the "smooth” jazz label of its day. By the musical terms of the next decade CTI’s original musical vibe was almost “free jazz” compared to the next decade's elevator music slop labeled as “smooth jazz.” It was smooth alright, but jazz?

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Michael Fremer

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