Daniel A

I'd hate to see this topic turn into a discussion whether TTK:s reason for not wanting to own the album is valid or not. However, as the owner of many soundtrack albums I have to say that the concept of this album does not much seem to relate to the movie. The cover seems consistent with the idea of a "lost" Coltrane album.

But remember how small CD:s are. You'll hardly notice.

Listen to the piano six seconds into "Penelope", for instance. My copy is not flat, but I have seen worse (however, the pressing is not of the quality I had expected). Anyhow, the flutter does not coincide with the "wavy" part of the surface, so it does not seem to be a pressing artifact.

But if McQueen really was a jazz fan, he might want to flip the covers even if they were props.

I got myself Etcetera from the Tone Poet series because I love that album. Unfortunately I hear flutter in several places and will continue to spin my Connoisseur CD. As I have lost my faith (there are reports of trouble also with other albums) I will not buy more releases from this series. Are the master tapes ageing?

I can see why you might not be dragged into Zeitlin's playing at all times. I like him best on short, condensed tracks like this one: I like the composition, and the solo sort of paints a picture during its short duration. I sometimes hear this tune inside my head. I have not followed Zeitlin closely in later years, but mainly know him from the Columbia albums. I might return to other pianists/albums more often, but sometimes I am in the right mood for them.

The Molde clip was discussed here 12 years ago. 🙂 I remembered it because of my contact with pianist Lars Sjösten, who has since passed.

Count Basie and his Orchestra: Marshall Royal, Teddy Edwards, J. J. Kelson, Fred Jackson, Herman Riley, saxes; Al Aarons, Cat Anderson, Thomas Cortez, Julius Brooks, trumpet; Britt Woodman, Benny Powell, Lawrence Loften, Maurice Spears, trombone; Count Basie, piano; John Collins, guitar; Red Callender, acoustic double bass; Harold Jones, drums. (Personnel on Camera) Recording musicians for "April in Paris":- Harry Klee, Wilbur Schwartz, Joe Soldo, John Rotella, Bob Tricarico, woodwinds; Bud Brisbois, Snooky Young, Tony Terran, Pincus Savitt, trumpet; Hoyt Bohannon, Lloyd Ulyate, Phil Teele, John Bainbridge, trombone; Ralph Grierson, keyboards; Al Hendrickson, guitar; Tommy Morgan, harmonica; Rolly Bundock, acoustic double bass; Dale Anderson, percussion As can be seen from the above personnel neither of the two bands involved with "April in Paris" is actually Count Basie's. On camera, Basie himself is leading a band of Los Angeles sideline musicians; in November 1973 the music was recorded later in the studio by the listed Los Angeles session musicians. Of course, many of the musicians from both groups had, at one time or another in their careers, played with Count Basie... From https://www.loc.gov/item/jots.200013902/

So far, this thread has been respectful without being inappropriately generous. I agree to everything that has been said. Christiern was kind and generous in the brief interactions we've had, now quite a few years ago. Not everything he posted here was polite or in the best interest of our host Jim Alfredson, but he certainly enriched this place. RIP.

I traded Remembrance away very early in my record collecting days because I did not find it interesting then. A mistake? I seem to recall a faceless guitarist.

But unless one subscribes to the idea that all of the jazz sales are purely the result of marketing and manipulation, it still appears that people liked the music, based on the relative success of these "young men" at the time. There is really no way of knowing, but I wonder if Dewey would have sold as well as Joshua if he had gotten the contract.

I am not sure that I understand your point. There is no "EU interference" other than that there is a regulation requiring companies to be very upfront with what they do with your personal data, and ask for your consent for the use of data for certain purposes and/or data types (like sensitive data). Tumblr's implementation of these requirements is not particularly user-friendly. Others have succeeded better.

Best approximation for the first occurrence is Esus13, but the later two are more convoluted.

Not that it answers the question, but some pop songs, even using the original harmonies, are terrific to improvise on. An example: Up, Up and Away. It has quite a few chords, BTW.

I've been playing Herbie Hancock's tune 'Tell Me a Bedtime Story' a number of times through the years and I think I have all the chords right with the exception of one. It's in the bar right before the 5/4 section (just after the loveliest phrase ever on alto flute). It sounds as if it's an E in the bass, but I can't really hear the chord. Any suggestions? It's in 1:14, 2:46 and 3:52.