Daniel A

CD 1： 1. Black Vibrations (C. Houston) 12:27 2. Earl's World (C. Tolliver) 11:08 3. Impact (C. Tolliver) 6:38 4. Compassion (C. Tolliver) 12:47 CD 2： 1. Truth (C. Tolliver) 9:17 2. Repetition (N. Hefti) 13:09 3. Stretch (C. Tolliver) 16:38

So-called "streaming farms" have been a reality for years, and can be used for boosting royalties for both real and "fake" artists. Depending on the relationship between the offender and the streaming platform, this will either be a violation of the terms, or simply fraud. I am more interested in the "AI" aspect, which does not seem to be explored that much in the coverage of the current case. There are several examples of groups/artists which are presented on platforms as real artists (e.g. a "verified" artist on Spotify), but which are quite evidently computer-generated music. Not sure that I want to give them more exposure, but try searching for a band which is called [the Capital of Sweden (replace with actual name)] Jazz Quartet. They have hundreds of albums out, almost each and every of them on a different label (presumably to add confusion). The earliest albums seemed to be recorded by actual (though mediocre) musicians, but for years their output has been fully computerized.

Not sure it proves anything, but the DVD release of the Sergio Mendes documentary "In the Key of Joy" has the following quote from Lani Hall on its cover: "I'm forever grateful to him for changing the course of my life."

Overe here (partially for reasons that Niko mentioned) credit/debit card or mobile apps are the "standard" menthods of payment and cash the exception. Some shops are "no cash" by policy because it is a hassle and a risk for them to handle it. And luxury shops do not want to be used for money laundering (criminals buying e.g. jewelry for black money). Personally, I don't use cash even once a month.

Over here, you could audition new CDs in most shops, as long as there even were shops that sold new CDs (they are all but gone now). I would say that roughly half of the second hand stores I still visit have self-service turntables (though no "booths").

Thanks!

Never heard of that! Can you remember anything more about it?

"Let's go eat!" 😄

Not sure if this has been posted before, but I hadn't seen it until a few minutes ago. What surprised me was to hear Grady Tate play such a heavy backbeat as early as 1965 (never realized this album was recorded then).

Back when Mosaic had all those Frank Wolff pictures available on their site, I downloaded them. There were several color shots of Bobby, however the turtleneck only appeared on B/W photos.

I thought that part was Kevin's words - as posted in the initial post in this thread.

Thanks, Lon. I am tempted to get the set, mainly for the added material, and to some extent for everything else (remastering, liner notes, Cuscuna's last set etc). But what bothers me is that I know that I like to approach music by the original albums - which I already own - with original artwork and not split between discs. Hence, I fear that I will not play the set as much as I "should".

The printed magazine lasted only two more months.

Please share your impressions of the Stanley Cowell composition ("Photon...") when you get there.

I realize that this is not what you're asking for, but it might be interesting for other reasons. (These posts are somewhat buried at James Harrod's site) https://jazzresearch.com/tag/wp-45-77800-88000-labels/

33 rpm 7'' discs were fairly common here and were called "EP:s" (as opposed to 45 rpm "singles"). It seems as if the term EP is used for 45 rpm discs in many (most?) countries.

This was the only thread I could find with "Dragon Records" in its title. Maybe not so much about that particular label, but nice to read it again. And perhaps the appropriate place to note that Lars Westin, who founded the label together with pianist Jan Wallgren in 1975, passed away late last year, somewhat under the radar. I would be surprised if there were more releases from the label. They had almost a 50 year run under the same ownership. Incidentally, the first and last original releases for the label (from 1975 and 2020, respectively) were by the same artist, Swedish trumpeter Bengt Ernryd.

Cowell gets less solos than any pianist in late 60s Blue Note quintet sessions, for whatever reason. He's very good in this band (there are also several unofficial live recordings). Corea might not add anything outside of what Cowell does, but to me, there's a special magic to the Total Eclipse session. Somehow, it seems as if the band was playing freer, not in a harmonic sense, but in terms of flexible dynamics and interplay between the musicians. Or maybe it is just because that album was my introduction to the Hutcherson/Land band and I'm slightly nostalgic about it. My favorite track is 'Same Shame':

I don't believe just about any of these artists ever turned up in the second hand bins over here around 1995. 🙂 Maybe people held on to them? I was thinking more of GRP albums featuring Don Grusin on Yamaha DX-7.

More like mid 80s maybe? Incidentally, I remember being told by older - and supposedly wiser - jazz fans already in the 90s that 1987 was the worst year for jazz, ever (in terms of what was being produced). I still do not have enough data to be able to confirm, but what turned up in the second-hand bins from that year always seemed to be unappealing.

I believe Jacknife (on vinyl) was my first McLean album. Fantastic playing, also from Jackie himself. I really like the style, half-way in between the more progressive albums that were released in the mid 60s and some of the more conservative hard-boppish sessions which also were not released until the 70s. The tune "Blue Fable" is to me such a great example of that.

BTW, I was a bit slow, but I eventually uploaded most of these BFT:s (I think there might be one left). It turned out that disk 2 of BFT #4 was incomplete, but Jim has managed to fix that. I did a quick check among the threads and it appeared that the "answer" threads were still there.

That is also what I tried to cover in the first half of my post. Sorry if it was unclear. If the stream is identical, the sound is identical. If there is error correction involved, there is a potential for differences.

This thread is derailing, but it should be noted that there might be a theoretical difference between playing a CD in real time on a CD player, which employs some kind of error correction, and ripping a CD, which might yield "better" or "worse" results depending on the software, and - obviously - the CD-ROM drive. Given that the extracted file is bit identical to the digital output from the CD transport and it is fed through the same D/A converter etc, there cannot be any difference in sound, as it is the same series of 0:s and 1:s that has been converted.

But does the chosen take have to be the final one? Could they have made 15 takes of 'Buddy Boy' and then one take of '2 J'?