Daniel A

I think it's more about having a (larger) group of musicians that covers all four of the instrument families; strings (e.g. bass), woodwinds (saxophone), brass (trumpet) and percussion (drums). A typical jazz quintet would do that, except, well, that it's not "large". 🙂

In any case, I believe that many of us have the set, and at least I haven't found a defect in any of the discs. FWIW, Discogs is listing SID code variations, indicating that there was a repress of the 1995 set. An interesting sidenote is that mould SID codes were introduced in 1994~1996. This means that discs that lack such SID codes were produced no later than 1996-ish, unless there has been a one-off mistake (or they are counterfeit). But looking at these SID code variants, it appears that all discs within the set have one variation without SID code (presumably the initial pressing) *except* discs 4 and 5. This suggests that these two discs were pressed in a separate run (while it might still have been as early as 1995).

Thanks Kevin, that was more than I expected to learn, and all of it very interesting!

And what is it? An IC board?

There's a long obit on his website: https://www.jim-mcneely.com

I understood the statement in the way Kevin explained; deck=tape machine, set=(composite) tape. I don't find it surprising or unreasonable that the tape for a 70 year old and hugely successful album would have been accessed many times. Discogs lists 160 different releases of this album.

Doesn't he say that one "set" was put away, rather than a "deck"? This is from the first post: "Capitol ran two tape decks for this recording (and others). One set was assembled and used many 100s of times. The other was put away [...]"

I couldn't say what way is the most common, but I have heard a couple of different recordings with J.J.Johnson and he always seem to include those four bara. I think it's a nice way to conclude a solo and if you're doing several choruses I like to hear it at least in the final chorus.

That label seems to be defunct, but since it was initiated by Bill Evans' son, Evan Evans, I will assume that the releases were legit unless there is contradictory information. https://jazztimes.com/archives/label-watch-bill-evans-e3-records/

https://www.organissimo.org/forum/topic/83424-john-coltrane-impulse-masters-destroyed/

I just love Hank Jones as a solo pianist.

https://www.ebay.com/itm/236240302061

I have never heard the rejected tune from 'Solid', and I had never heard the Bill Lee album until i listened to "Spanish Dancer" on YouTube a couple of minutes ago. However, to me - as someone who has heard just about everything that has been issued with Pearson as a composer or arranger - there is something "Pearsonish" about the chromatic voicings in the intro (or maybe it's an A section). A similar device is used on "Chili Peppers" on 'The Right Touch'.

Yes, I believe it was. And if the dates I've seen are correct, the Morgan recording was made three days before the movie was released, so maybe some sort of internal UA idea to cash in on the supposed "hit" theme? How else would Pearson even know the theme. (UA purchased Liberty the year before, 1968, right?)

FWIW, I think it actually sounds like Morgan between 2:21 and 2:28, but the rest is sort of anonymous.

If memory serves, the US Milestone LP has Out 'n In (which is the same as In 'n Out) instead of Black Narcissus, allegedly because the playing time of the Japanese LP exceeded what was acceptable for the US market. The OJC CD replicates the contents of the Milestone LP. Perhaps they (Orrin?) missed that there was another track when the CD reissue was produced, or maybe the actual session tapes were not available.

Yes, it is. But Harald Hult of Andra Jazz taught me this, pre-internet. 🙂

I thought they were green/blue (for stereo releases) up to ~1969, and then green/red (from Hubert Laws "Laws Cause" and onwards), excepting Japanese reissues which often used original label layout.

Sun Song on vinyl has run out. But you can get in on quarter track reel-to-reel for $150. (Half track is $475)

In any case, new entries should only be submitted to Discogs with a copy in hand. That being said, I know that adherence to this rule is deficient.

This is from one of his first recording sessions at age 21, and I think his playing is incredible.

I understand the difference between the "majors" (Sony, Universal et al.) and Spotify themselves doing it, but of course this is also what the old style labels do; purchase music and then promote it on the streaming platforms by purchasing visibility in various playlists. I have an office job for a living, but have always been playing jazz on the side, most often with no profit whatsoever. By coincidence, I happened to get a gig producing "background café jazz" music for a major label. I cannot disclose any details but I think the deal is fair. I can indeed confirm that mass produced similar music is proposed as a template for yet more of the same, but I want to stress that we try to make meaningful music and that we have a lot of fun doing it. And we have never used a first take of any song. I agree with the opinion expressed in the excellent Liz Pelly article that this type of music will most likely soon be created by AI and we're just doing this while we can (which might not be for too long).

Seems like it's available for download from Qobuz.

Leonard Feather also wrote this on a Paul Chambers album: "I would call Chambers a gas, except that it is depressing to think about gas chambers"...

I have nothing against Truffaz, but why is the copy always so cliché? 🙂 I asked Microsoft Copilot "Could you please rewrite the following copy so that it becomes more hyperbolic and over-the-top?" The response: Absolutely, let's dial up the excitement to eleven! "Prepare yourself for an unparalleled auditory adventure as the legendary French trumpeter Erik Truffaz makes a triumphant return to Blue Note, bringing his extraordinary genius to the music of cinema's golden age! In this breathtaking album, Truffaz performs electrifying and spellbinding reinterpretations of iconic themes from cinematic masterpieces like La Strada, L’Ascenseur Pour L’Echafaud, River of No Return, Le Casse, and more. Each track is an unforgettable, soul-stirring journey that will leave you in awe. Don't just listen – immerse yourself in a musical odyssey that only Erik Truffaz can deliver!"