Djangologie lp series

I just ordered the whole box set last night. I see them periodically in local shops. But I finally said fuck it, I'll buy the whole thing at once. It's shipping from Germany, so it might take a while.

Anyone else have the set?



  • TwangTwang New
    Posts: 407

    Vynl? Respect

  • Posts: 279

    I love vinyl. Everyday, at dinner I put on an lp. Last night was a Joe Oliver record. Tonight... Who knows?

  • nicksansonenicksansone Amsterdam, The Netherlands✭✭✭✭
    Posts: 274

    It's a great medium for listening, but the Djangologie series is not as complete as the Integrale series (which I havent seen on lp). Some times I really want to hear certain tracks from the same recording session, but there is certainly a lifetime of listening to do.

  • Russell LetsonRussell Letson Prodigy
    Posts: 355

    I don't have a whole Djangologie set--I recall it runs to 20 LPs--but I managed to pick up many of the individual records over a period of years, starting before the CD revolution. They would show up, onesy-twosy, in used-music stores, and I assembled what for me were the core recordings (1935-40s).

    Then the JSP remastered sets showed up and I bought those as individual CDs and then the boxed versions, and then the Fremaux. . . .

    I've been at this a while.

  • Posts: 279

    Yeah, I have the integral set. But I mainly listen to music on my hi-fi or casually on my phone(not hi-fi). I don't even have a CD player anymore. Actually, my car doesn't have one either.

    Man, music mediums keep changing, but they got it right early on with records. Wax cylinders sound like shit. Huge step up in fidelity. Tape is pretty good. I had a mini disc player. Glad that didn't catch on.

  • Russell LetsonRussell Letson Prodigy
    Posts: 355

    Minidisc was a very good technology for field recording, even if Sony tended to be tightassed about DRM and proprietary audio formats and such. When I was doing interviews, a little MZ-B3 (shirt-pocket size, built-in mono mic) was a great tool--much better than a cassette recorder in every way. The MZ-B100, with stereo mics, was even better, though perhaps not as sturdy. And it was a very respectable live-music recorder.

    I eventually moved on to no-moving-parts digital tech (the Olympus LS family) that has the additional virtue of recording in a range of standard formats without DRM. But I still have drawers full of MD recordings and several functional machines on which to play them.

  • Posts: 279

    It arrived FINALLY. Took the slow boat from Germany. I didn't realize it was a box set. Not individual covers. Still very happy.

  • mac63000mac63000 Tacoma, WANew Geronimo Mateos Jazz B
    Posts: 248

    Reviving this thread as I just received the same box set! Such a gem! I do like the idea of having each individual album cover but this saves a decent amount of space on the shelf.

    Fun times, I've been enjoying listening to an album a night and hearing the style shift as years pass.

    I have several other LPs that cover the later years and his electric work, so while this isn't his complete works, it's certainly a big step in that direction.

    One other thing that's kind of cool going to analog... No digital interpretation of the original recordings gets us that much closer to the original sound. Magnificent!

  • TDogTDog Victoria, BCNew Shelley Park Montmartre; Cigano GJ 5
    Posts: 35

    Looks great, where did you order it from?

  • Russell LetsonRussell Letson Prodigy
    Posts: 355

    It might be worth pointing out that any medium-to-medium transfer is likely going to involve "interpretation," as an examination of pre-digital LP reissues of, say, classic 78 records by Louis Armstrong, Robert Johnson, or Bessie Smith will reveal. Even a technologically primitive home-made transfer--say, copying a 78 record onto analog tape using a modern turntable with a 78-capable cartridge and styus--involves some stages that reshape the sound. And pre-digital professional transfer/remastering could involve all manner of signal manipulation, such as scratch-and-pop removal and maybe some surface-noise filtering or EQ tweaking.

    I started buying classic jazz reissues long before the digital era, and the more ambitious ones often included technical notes on the process used in the transfers. The Djangologie LPs (like the early Louis Armstrong Hot Five and Hot Seven LP reissues or the 1961 Robert Johnson "King of the Delta Blues" LP) would certainly have gotten some cleanup attention.

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