Daniel A

ABBA has reunited after 40+ years and is releasing a new album. To be honest, I knewer thought that would happen. Unfortunately, it will be without two unsung stars; basist Rutger Gunnarsson, who passed a few years ago, and recording engineer Michael B Tretow, who suffered a stroke in 2001 and has no memories left from the ABBA years.

Yes, many years ago. I remember it as pretty generic; suitable as background music for a retro-style cocktail party.

The bridge of Bacana is lovely! I like how the first chord in the third bar of the bridge is such a nice suprice, while still so typical of this style tje Germans excelled in during the late 60s. As much as I love Horst Jankowski, isn't the first track stolen from KPM, though?

Thanks Mike, really interesting! I never realized that the Discovery album was from a different recording than the Impulse album. I suppose I didn't look too closely and just noted that the musicians were exactly the same. I will search this out for sure!

I don't deny that they are singing "boogaloo", and maybe it is a boogaloo, but I was thinking of the "son of Sidewinder" genre (and probably I forgot that the scope of this thread is a bit wider). "Sidewinder" and many of the spin-offs had this rhythmic shift, as well as "Watermelon Man" which came before it. "Pentecostal Feelin'", which has been mentioned as the very first recorded tune of this type on Blue Note, is yet another variation as it is using the classic "bossa" accent pattern. Without knowing anything, of course - and I might be wrong - it sounds to me that for instance the Jazz Crusaders' concept for a groovy tune has other influences. I listened to their album Powerhouse recently, and their version of the little played Bacharach tune "Upstairs" exemplifies this more straight backbeat approach.

'Wilton's Boogaloo' seems like a good example, but I think 'Ooga' is similar to some other Jazz Crusaders tunes in that it has very clear accents on "2" and "4", while I very much associate accents on "2" and "3 and" with a typical boogaloo.

I actually brought out some Jazz Crusaders albums the other day to look for examples, but it seems there's often a different flavor that differs from the "Sidewinder" style. JC:s tunes of this kind are somewhat more backbeat-ish, and sometimes with a touch of latin (cowbell etc). It seems to me they came to these grooves from another starting point.

https://www.huffpost.com/entry/bill-cosby-released-from-prison_n_60dca185e4b058eea49dfd29

Now, this thread seems to be more about LPs than CDs, but anyway... My copy of Mahler's 5th (Decca/London; Mehta) is probably the longest LP side I've got. It has 39:59 playing time on side 1 (plus space between tracks).

As a typical classical orchestral work would often have quieter passages/movements, a classical LP side could usually accommodate more than the 20-ish minutes of pop/jazz/whatever without the same apparent loss of fidelity.

Phelps switched to optical discs already in the 80s.

It doesn't seem so. The description has "+3" in it, which usually means that it has three bonus tracks compared to the original album.

Thanks!

How are Amazon JP shipping rates to Europe? (I do not have an account, as I always used Hiroshi and then CD Japan)

Thanks for the report, D.D. I might go for the new reissue.

That's why you're bringing records to shows - to show them! The music is fantastic, though.

What would the optimal royalty model look like? It seems as if every model will have some bias. The streaming platforms are "fair" in the sense that creators are being paid in relation to how much they are being played, without extra cost for the consumer, but the amounts are too tiny. But also the "old" model seems to have discouraged large scale projects. It would be a better deal to do an album of solo improvisation than a large orchestral thing in terms of royalties vs investment.

Since I was, it shows that one can be unaware of such programs, so there will always be a market for other solutions. I would always be careful myself regarding any program that works as suggested above. Grey zone downloads always come at a risk.

Robotized needle-drops?

What is the point here? That everybody must hunt bittorrent sites or obscure blogs, just to avoid buying a PD label box set? Because while you're avoiding potential malware, some Andorran character will make a 3 Euro profit? I am not interested myself because of the unappealing aesthetics of many of the PD boxes, but since the artists would neither get one cent from me if I pay 1000 Euro for a rare original LP, why get worked up over some people buying them? As for YouTube audio, it has support for lossless, so if you want it can be as good as anything. And while some uploads are lo-fi, many others sound much better than AM radio.

But I want the cover. That's why I want the LP.

Edit: I have decided to remove the contents of this post as it didn't help the discussion. A sad story, that's all I'll say.

He was the one who discovered singer Alice Babs. As a bass player, band leader and eventually record company executive he had some influence on the Swedish music scene. He also produced some shows for Swedish television as the jazz series "Trumpeten" (the trumpet), including the Kenny Dorham Golden Circle gig which I believe is still on YouTube. He died from a heart attack in 1967.

Yes, Art Farmer's The Time And The Place had a whole extra session.

You learn so much at this place! Mike, with your knowledge on Tjader, do you have a theory as to how he would have known and recorded the tune "Here" a year and a half before Mackay himself? I cannot see any evidence that they played together.