Daniel A

This has happened: a graphic designer bought the whole shop as well as Harald's own private collection. He will have the shop open a few afternoons a week, run as a labor of love outside of his normal work. Not sure how viable it will be in the long run once the inventory is starting to shrink, but it will surely last for some time. And it's good that the place is still there. Went there yesterday and it looks exactly the same with one change: they now accept credit cards!

It might be a question of taste, but probably I am missing some of the subtler aspects of Legrands big band scoring on this album. I can appreciate the difference from the "Legrand Jazz" album, but I guess I am too addicted to his writing for a full orchestra, like his arrangement of 'A Time for Love' from "Cinema Legrand":

I can't help thinking that Legrand is under-used on this album. If he he was let loose completely, his arrangements/orchestras seemed to create this unsurpassed mixture of beautiful voicings, creative and sometimes unexpected forms and a general sense of luxury. I always turn to "Cinema Legrand" when I want to experience that. In comparison, here he seems to have simplified himself somewhat. But I like tracks like 'There's a Small Hotel' from the Plays Rodgers album.

The version (as Baca Feelin') on LRC (vol 3, presumably included in the 3CD set Jim linked to above) indeed seems to be a version with the Thad/Mel big band, but different from the one on Solid State SS-18016. https://www.discogs.com/Thad-Jones-Mel-Lewis-Big-Band-Village-Vanguard-Live-Sessions-3/release/6496174 According to Discogs (admittedly no solid source, but probably collected from the CD) it was recorded in 1970.

There might be a misunderstanding. Bill seems to be referring to the Thad/Mel big band recording. The "Sunday Afternoon" version of Bachafillen (which I haven't heard) is 15 minutes long and has, according to Discogs - Corea/Elvin/Davis: https://www.discogs.com/Various-Jazz-For-A-Sunday-Afternoon/release/2922467 And as noted, it only seems to be included on the Blue Note CD reissue.

This is from John Snyder's notes from the 1988 reissue of Sky Dive: "On one of Freddie's dates, he lit a cigarette, and blew smoke into Rudy's new mic (Rudy would cover the labels with tape or remove them altogether, so nobody could cop his moves), and Rudy stormed out of the studio and didn't come back until the next day. That cigarette cost Freddie about three grand. But, let's face it, he probably has gotten three grand's worth of use from retelling this story over the years. I know I have."

But it was released. Anyhow, I never feel like listening to it either. Have a (Japanese) LP, but have probably not played it for ten years.

In the booklet of one of the 80s CD reissues of Freddie Hubbard’s CTI albums, there is a story of Freddie blowing cigarette smoke into one of Rudy’s microphones. Rudy is said to have rushed into the studio and removed the microphone and temporarily aborted the recording session out of anger, if I recall correctly.

Happy birthday, Dan!

More on that album here: What I never posted about here - apparently - was that Kleinschuster confirmed that he was on that session with Farmer and that the lineup, which was completely false on the Moon Records cover, had the usual suspects of Fritz Pauer et al. He also said that he was surprised when the CDs mentioned above were released (or at least the first one, can't remember now) because nobody had told him about them.

I am saddened to hear this. I interacted with him a few years ago when I wanted to record one of his compositions. He learned about that through the Austrian copyright collection society and actually called me. Then he was generous enough to send me a copy of the original lead sheet. I appreciate the many radio sessions he led with guesting musicians.

I believe Fischer's album was recorded more than a year after the Henderson album, so Dorham would have to have heard the tune elsewhere in that case. The tune was also included on the "Hi-los Happen to Bossa Nova" album from 1963, so maybe there? There it seems to have been titled "Carnaval (João)".

Swedish television actually recorded Rollins at Nalen in 1959. I can't find the rest of it online, but here's at least "Paul's Pal" :

I have something that is more valuable to me than all the music (which can be replaced) and that's family photos (the children when they were born, growing up etc). From the last 15 years all that is digital except when we have printed an album or made paper copies (which doesn't cover nearly half of it). So, how do I go about keeping these files safe? I've set up a local NAS (network attached storage) with two mirrored hard drives, that is in turned synched with a cloud storage service. Mobile pictures/movies are uploaded automatically to the cloud service and then synched back to the NAS. Memory cards from the system camera go the other way. And if somehow the file system would get infected/corrupted I've saved the memory cards. My private recordings and music projects are stored the same way. This setup does not demand any maintenance, except maybe every five years when I update/switch the hard drives one at a time. OK, if I stop paying for the cloud and let the hard drives die from old age all will eventually be gone. But if I do that, I apparently don't care or I have other more serious problems in life. And as Scott says, keeping a digital collection organized is far more convenient than a physical collection. So having a lot of downloads does not seem at all problematic to me. However, the main issue is that there won't be that many downloads around - streaming services will dominate the mass market.

I am hesitant to mention it here since I am unsure that it will really happen (I've also got three kids, a day job and a house to take care of) but a friend at Sony here in Sweden has invited me to do a Youtube show to market CTI recordings. I "only" have to come up with some good stores and select the music...

Some early CTI from the A&M days, like Paul Desmond's 'Summertime' was excellent. I agree with general Bob James rule, but there are exceptions, like Hubert Laws' 'Morning Star'.

Fender Rhodes? MIDI saxophone? Of course there might be "classical" compositions involving those instruments, but most people would not consider them typical for a classical setting (=classical instruments). Lately, some topics here seems to derail rather quickly. Anyway, I've never warmed to the harpsichord. And, oh - I am also very fond of Glenn Gould's Bach interpretations, espescially the French suites where he doesn't have to worry about counterpoint.

I`ve never heard Monuments, but the track above was actually much better than I had anticipated. I think it's fascinating to hear McLean on this material, which I don't think was so bad. Didn't care so much for the spoken lead voice, though.

I’ve met Couw (twice), Claude - longtimers will remember them - and etherbored. All great people.

You can always identify a Big Mac, but does that make it great food?

I am not sure that it will work out, but it is said that Mats Gustafsson will take over the shop. He would employ someone to keep it running but oversee the general business himself from a distance. We'll see.

I am by no means an Idris Hotep Galeta expert - in fact I can remember no other album he plays on at the moment - but I can't help feeling he is not always an asset on the Hutcherson Montreux album. His comping is sometimes a bit mechanical (repeating the same voicings and accents chorus after chorus) and he also gets lost in the form of "Moontrane" and skips the B part for most of the tune. His soloing is idiosyncratic, which is not necessarily a bad thing. Woody's playing is absolutely terrific, though.

I agree with Brad that this discussion is a bit bizarre. And it could easily slip into an even more depressing outlook on the relevance and future of this very message board, but I'll resist going into that. To me, it seems as if the initial request was made in a positive spirit. And it seemed to come out of a passion for Mobley, not a particular interest in Down Beat. So if trying - and maybe even succeeding, how improbable that may seem - to get Mobley into this hall of fame can make some people feel good about honoring the memory of him, there doesn't seem to be any obvious downside to that. In the light of that, a seemingly negative outburst stating the pointlessness of this exercise may be an example of someone just exercising his freedom of expression (let's for a moment disregard the fact that this is a private website), but it also seems to take away the positive spirit without adding much else. So if some people think there is a point in doing something, why keep telling them it's pointless? Obviously, that's incorrect since it meant something to those people, which was the main point in the first place. And forgive me for keeping up the bizarre-ness. ☺

Good to see you here, Hans! From the looks of this diagram, the future of the CD looks uncertain at best: https://www.statista.com/chart/12950/cd-sales-in-the-us/ I agree that fans of classical music tend to be more conservative in relation to streaming/downloads, but at least in Sweden also classical CD sales have collapsed. A guy I know at one of the majors says that some new releases don't even sell ten copies nationwide in a country of ten million inhabitants.

I'm still not sure. The reason LPs "disappeared" in the 90s was that they were replaced by another physical format with "digital" and "convenient" as the USP:s. (They were also falsely advertised as indestructible/durable, but we know better now) The "hipness" of LPs today is to a large extent related to the format being non-digital, while CDs are just an anachronistic means of distributing digital files. So, since non-physical is now replacing CDs, LPs still have a few USP:s that CDs don't: large covers and being non-digital, all while CDs (in the eyes of the consumers) no longer have any distinct advantages over non-physical files.