Daniel A

Yes, it's fantastic. As Mike says, the woodwind writing is as good as it gets. Just to pick an example, he manages to score a tune like Desafinado (of which there are many tired versions) in a way that is brilliant and somewhat eccentric, while at the same time being superficially in an easy-listening style that will pass totally without notice for someone who thinks they are really listening to elevator music. That is pure genius.

Probably. Did such practices appear "shameless" to the average record buyer back in the day, or didn't people pay much attention to an incorrect song title? Edit: Would still like to know the answer to the question above, but now I'm leaning towards a plain human error, since McGriff played both songs with a big band on a Sonny Lester-produced Solid State album a few years prior - he probably did them both also on this tour and somebody put the wrong title for the selected performance.

Many years later I actually found it very cheaply at legendary Stockholm second hand jazz store Andra Jazz. A question regarding the Jimmy McGriff tune on the very short side three: it is labeled as Slow but Sure (by Manny Albam) but is very clearly Li'l Darlin'. What's up with that?

Speaking of which, I haven't seen any updates from Mosaic in the data privacy area. If nothing else, maybe we could request them to release a new GDPR compliant privacy policy?

Well, the maximum length of the an LP might be "artificial" insofar as it is the technology and not the music that sets the limit. But I don't think that it's a coincidence that the format seemed to work well. A club set can be anywhere between 30 minutes and over an hour, but a typical length is maybe somewhere around 45 minutes, before both musicians and audience are expected to need a break. That time span often seems to be just about right also at home in front of the hifi set.

I believe it was 7500 sets, but I don't know if that included the LP sets.

Kotick is on the Martial Solal Newport album from 1963 (with Paul Motian), which would probably make it his last recording before the "disappearance". The bass could be better recorded, but the playing on the demanding material is fine.

Some more posts about Andra Jazz in this thread:

I just spoke to Kalle. He will keep the store open "until the summer", and then "we'll see what will happen". I will pay a visit soon.

OK, thanks for sharing. Harald Hult was 77 years old. Footage from the shop seems to be rare, but I found this clip from earlier this year. Some of the (great) atmosphere is caught. You could count on meeting a lot of interesting personalities in that shop.

The only other person I've seen there during the last ten years is Kalle, an otherwise retired man and a friend of Harald's who I would imagine helped him out for free. No news about this that I can find online. Did you hear it on Facebook, Clifford? This is a sad moment for me, but I will cherish the memories. Right now I'm thinking of the first time I heard Joe Henderson's In'n'Out. It was during the 90s when it was OOP and hard to come by over here, pre-internet. Harald had a copy of the LP and I bought it. My favourite Henderson/Dorham album.

Oh no. Went there some two months back. Harald was there and in a good mood. Always intended to go back before the summer for some substantial shopping. Too late now, I suppose. Will try to check tomorrow if I can find out what will happen to the shop, but unfortunately I feel quite certain this will be the end. Harald has been this shop for fifty years. RIP Harald. I will always remember the musical doors that were opened for me in that shop (through its various locations across the years).

Not to derail the thread, but in my experience putting together a mixtape (on compact cassette) or ripping/burning a CDR is immensely more time consuming than creating a Spotify playlist (which I find to be quite easy). But my point was more along the "generational thing" touched in your following post. We have to consider the presumed shorter attention span of youths etc. (And not only youths for that matter...) And I also agree with Guy's observation that many people seem to favour ready-made playlists.

I would have thought that in these days of streaming, listeners are even less likely to play a whole album (to the extent that the concept of an album even remains). I can sympathize with the view on playing standards, though. Perhaps not necessarily from the Great Songbook, but as you say, material you can relate to.

Geller made a couple of fine recordings in Sweden during the 70s with Swedish pianist Nils Lindberg. They're on the Bluebell label. Apparently Geller had the alto sound Lindberg had been looking for since Swedish altoist Rolf Billberg's passing in the mid-60s. Fist choice: Saxes Galore from 1979 (sax section plus rhythm including Red Mitchell on bass): https://www.discogs.com/Nils-Lindberg-Saxes-Galore/release/6257770

Yes, they are actually doing a very nice Geller tune that is also on the aforementioned 'An American in Hamburg' album under a different title ("Stockenhagen", which was later to be "Space a la Mode"). The video is on YouTube, but split up in multiple parts. Right in the beginning of this part you get a glimpse of who I believe is Evans's then girlfriend Ellaine, behind Geller. She died the following year.

I think Alex Riel overplays, but on the whole I don't think they are so insensitive that it hurts. Rob Franken has a few decent solos, and Hans-Lucas Lindholm is a basist that doesn't try to unnecessarily draw the attention towards himself. What's more, the album has a general sound as no other recording I've heard. The woodwind/sax overdubs, the compositions and overall satisfying arrangements, Mark Murphy's singing and Geller's soloing make for an unique listening experience.

Why is this thread in Miscellaneous Music instead of being in Forums Discussion? Just kidding, of course...

Yes, that's the one. Thanks!

Sorry for using your knowledge for personal purposes, but I imagined that some of you would know this (or have an informed opinion). I am on my way home from work and suddenly felt like listening to BB for the fist time since I can't remember when. I have the metal spine box and the original jackets 70 CD box. Which version should I listen to?

His arrangements on Paul Desmond's 'Summertime' (from the very early days when CTI was just a sub-brand of A&M) are so good. But that album sounds more luxurious than later CTI efforts; more French Riviera/"The Persuaders" TV series than giallo.

Happy birthday! You seem to have a lot of enjoyable events coming up (more than I have myself, anyway ).

Well, just to represent a different point of view - to me, Empyrean Isles is as good a BN album as it gets. Fresh, inspired playing all around. I think I voted for that album back then (can't seem to find that out now). I think it has Tony Williams' best playing as a BN sideman and Hubbard never sounded better. As for Herbie, he cuts loose in a way he doesn't on his other albums for the label. If Herbie is a control freak, to me it appears as if he was able to break free from that on Empyrean Isles.

I am many years too late, but I believe they actually recorded a version of 'Maiden Voyage' at the Thigpen session, but it was not included on the album and the tape is now lost.

I just checked. Sweden got stamps in 1855, but there was a currency reform three years later so we can only use stamps from 1858 and later. Due to inflation, one would need 1440 of those to send a vinyl record domestically today... :-)