Daniel A

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... :-)

I think you may use even very old stamps here still, albeit to nominal value. However, some years back they introduced these stamps with no nominal value other than they will be enough for one standard letter (and then two for larger letters, four for even bigger ones etc) and thus will not be affected by inflation. A funny thing I just noted; the stamps on the far left somehow looked like jazz musicians in action on the picture above. I had to zoom in on the original picture to see what they were:

I made an LP purchase from a Swedish seller on Discogs and this beautiful package turned up, covered by a stock of old, low-value stamps. Inside was Kenny Burrell's 'Night Song' LP.

Drummer Charles Bellonzi might not be as hip, but I think he shared Martial Solal's sometimes whimsical approach in the latter's 60s trios.

So, it's an empty box with the logo on and a lamp within - for $1500? Their amps look very nice, so why would anyone need or want this additional box?

Ok, that's good to know! But I suppose the point is that it's not done without the knowledge or cooperation of the label (i.e. a distribution channel they are opting in to).

I thought Capitol *are* the owner and Mosaic a licensee. And they (Capitol) are getting paid for each stream. I might be paying a flat monthly rate to listen, but a percentage of the total revenue is administered back to the owner, based on the number of total plays. That wasn't perhaps what you were after, but anyway.

No, they aren't. But Spotify don't put anything up for streaming by themselves, legally or illegaly. They are just a distribution channel. It's the owners of the rights to this material that have done that. As we know, Mosaic don't have the rights to online digital distribution. Spotify always indicates the names of the labels/distributors. For these sets, they are given as "Capitol Records, LLC" or "The Verve Music Group, a division of UMG Recordings Inc".

Yes, forum member David Ayers shared this Spotify Mosaic set playlist many years ago: https://open.spotify.com/user/davidayers/playlist/4VzRzvG0hYshc4mo5M8MRo?si=PelJCiA-R6-Qw621igvOSg

There is a bass solo that is less convincing. I think it might have been his first recording session. There was a time when I eagerly sought out all Lee Morgan albums I could find, but these days I don't play them much. The one date which was not released at the time that I am still returning to is The Procrastinator. I sold Sixth Sense many years ago. Morgan could turn in a superb solo, even during the "later" years. For instance, I think his solo on Jackie McLean's 'Blue Fable' (unreleased at the time) is a classic. I just don't find that many memorable moments on Morgan's own albums during the second half of the 60s.