Daniel A

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.

I think his solo on Morning Star is really good: I dig the part when he activates the Octavider. Yesterday, Laws said that he first played that tune with "Mongo Santamaria's Organization", like it was an enterprise rather than an orchestra, but maybe I misheard. Not that it matters, or is even plausible, but was he the first one to play flute with an Octavider on record?

No thread for Hubert Laws yet? Laws was brought out of what seems to be semi-retirement for a concert in Stockholm yesterday in a packed Konserthuset (apparently his first time in Sweden!). And he still has his technique and that wonderful tone. They did a big band version of one of my favorite tunes by anyone, "Morning Star", which was a respectful update own Laws' own first recording of the tune. Laws himself came out as a true gentleman, very humble and appreciative of both the audience and the other musicians and also shared personal reminiscenses in an honest fashion. He made many great recordings, but I can't help thinking that some really great soloing is not getting the appreciation it deserves simply because it was on CTI. Any thoughts on Hubert?

Dick Hyman?

My favourite tune title is probably "Will Success Spoil Rock 'n Roll" (apparently a play of words of the title of a movie I had never heard of).

Yes, it's a bit strange in that these odd titles are in disconnect with the more straightforward nature of the compositions and arrangements. The "classical" themes are jazzed up in a very west coast-ish manner. BTW, I had no idea that Niehaus scored all the movies that Clint Eastwood directed for a couple of decades.

Thanks, James!

Thanks for your reply, Jim. It sounds more like a late 50s recording than 1968. A few of the compositions are by John Graas who died a few years before 1968, if that means anything.