Daniel A

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.

Very, very sad. So sorry to hear this.

Assuming you mean the Mosaic Records Daily Jazz Gazette, it is published on the blogging platform Tumblr. It is Tumblr that has introduced the consent page which you may have perceived as a "blocking page". The EU General Data Protection Regulation (GDPR) may have its flaws, but I find it easy to sympathize with the general objective of forcing companies who process personal data to be more transparent. Basically, the GDPR applies to all companies, not only inside the EU, but - much to the dismay of many non-EU entities - also to companies outside the EU if they are marketing products towards EU citizens. It is because of the GDPR that Tumblr has introduced the aforementioned page to meet the requirement to enable all individuals to opt out from most processing of personal data that is not required to deliver a specific product or required by law. However, this opt-out requirement is badly implemented by Tumblr, as it is very difficult to manage these privacy settings. A few clicks down the line, you are presented with a list of hundreds of "partners", for which you may enable or disable the right to direct customized ads to you, based on your behavior while on Tumblr. But it turns out that the right for some "foundational partners", like Google, Amazon, Facebook etc to use your personal data cannot easily be managed or disabled. You need to visit each platform separately to take control of their use of data regarding your Tumblr preferences. That's when I chose to opt out of using Tumblr altogether (and so, I can't read the Gazette). So this is all about Tumblr (which Mosaic Records have chosen as supplier of the blog platform) trying hard to appear to follow the GDPR, while in fact they want to make it hard for you to exercise your rights as a data subject.

I assume the warning comes from the fact that the forum is run on a http, rather than a https, website. What do you mean by that the EU has "blocked" Mosaic's jazz blog? Which blog is this?

Like I've said before: get 'Total Eclipse' if you don't have it already - all five musicians are at their best. It's such a great line-up. I also like the Elvin album; certainly one of his Blue Notes I return to the most. Good to hear Jan Hammer in this context.

Maybe because someone else borrowed his copy, and he can't recall the title?

From a Billboard article from 2009, it seems Caiman holdings went bankrupt. https://books.google.se/books?id=S5qHDcGdQDEC&pg=PT5&lpg=PT5&dq=Caiman+building+a+mystery&source=bl&ots=RMwdk9x94y&sig=ACfU3U3XhJglFKjlstZE5nWsA1sUNiqbiA&hl=sv&sa=X&ved=2ahUKEwi46cPetKjhAhXkwYsKHc5gB7wQ6AEwDnoECAMQAQ#v=onepage&q=Caiman%20building%20a%20mystery&f=false

I asked in another thread, but that post maybe was not read by people who know: do these feature the same masterings as the SHM series?

Sorry for being slightly off-topic, but I take it that the masterings from the initial SHM series have been used again? What is the cat.no. sequence for the new run? I missed a few one the first time round.

I agree completely. The cloud (streaming) will be one of few ways to make money out of the back catalogs once the CD is gone. BTW, buying CD:s already now feels to me a bit like buying printed versions of PDF files, unless there is added value in the physical package (booklets, attractive box sets etc).

Belated happy birthday!

Kallax, maybe? I'm using them. https://www.ikea.com/ie/en/collections/kallax/

In an early 80s interview (the book - The Great Jazz Pianists by Len Lyons - doesn't say exactly when), Tyner seems to say he actually never drove a cab. "Tyner: I was actually considering working during the day - I had reached that point. [...] I had a chance to compromise, and I didn't do it. Lyons: You mean you were going to quit, or play pop, or what? Tyner: I was thinking about hacking, you know, driving a cab. The guy I went to see about the job couldn't believe it. He used to drive me to the airport when I was working with John's band. He just didn't believe I needed a job, and he never called me back. Also, I had offers to go on tour with Benny Goodman. A lot of guys I knew were going electric or into rock to become more commercial - I just couldn't."

I fully subscribe to everything TtK said, except that I need to get many more of his albums. Legrand was a genius.