Daniel A

'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.

This is truly fantastic. Thanks for posting. The text at the end falsely states that this was recorded in Norway. Also, no mention of what I believe was the original producer Simon Brehm who can be seen smiling at 14:55.

Thanks for the information, I didn't know that! What's interesting is that it was originally on the very first release on the Skye label, which was recorded a year and a half before Dave Mackay's own version. How did he know of this tune, which he also recorded two more times according to Mike Weil's excellent discography?

Oh, this is fantastic! I've never heard this album.

That album is a hidden gem. I've always loved it. And for an Impulse album it's surprisingly rare. At least I have never seen it, except for the Japanese CD I got back when it came out.

Then I will offer you something from the other side of the American bossa spectrum so that you don't have argue about the jazz content; Dave Mackay's and Vicky Hamilton's 'Here', in 5/4, with congas and the "father of Toto" (Joe Porcaro) on drums.