Daniel A

I'm not sure I should post in this thread, but it makes an uncomfortable read. Here in Sweden we've already had our first local "Weinstein" thanks to the #metoo campaign. It's all too familiar; a popular television program host has for years been molesting women that have in one way or another been dependent on him. Network executives (both men and women) knew, but it was all kept quiet because he was "worth too much". It's terrible when innocent people are accused and convicted (in court or "just" in the eye of the public) for crimes they didn't commit, be it sexual related or otherwise. But women have had to endure so much oppressive behaviour and sexual harassment from men for so long that something needs to change, radically. And if men are feeling uncomfortable by this "movement" it's nothing compared to how many times women have had to feel (rightly) uncomfortable because of a man in the room. Regarding cross-gender relations in a work environment, it's perfectly possible to have a great professional *and* personal relation with a colleague without bringing looks into the picture. I have fun at work almost every day, and I don't feel puritanical at all. As for holding up a door for someone, it doesn't seem like a big deal to me. If the person behind me is lecturing me about it I would assume that he/she is having a bad day or possibly other problems in life.

Among the first jazz albums I bought when I started out in the 80s were "Red in Bluesville" and "All kinds of weather" on OJC vinyl. Haven't spun those in 25 years, so I'll do that as soon as possible!

Yes, Chick was still Blue Mitchell's pianist on "Boss Horn" where those two compositions were recorded for the first time. Duke Pearson was the arranger for that Mitchell date and scaled them up for his own big band. BTW, I think the piano solo on Mitchell's recording of 'Tones for Joan's Bones' was Corea's best up to that date. I urge everyone who has 'Boss Horn' to spin it again.

A minor comment regarding the Dave Pike version of "Why Not"; on my copy of 'Pike's Peak' it's not credited to LaRoca, but to Pike himself (Regent Music, BMI).

Downloads are for the middle-aged - youngsters prefer streaming. As for the question of PD material I may be missing the point entirely, but I suspect that when Universal et al are reissuing material in Europe that is PD there they don't pay more fees than necessary, even if they actually do own the material. However, as far as these 5 CD sets are concerned there seem to be individual albums that are actually not in the PD in Europe.

I beg to differ. It just has to be the guy holding the LP. The colors of the spotlight reflections are all wrong.

I agree. Rooster, if you haven't heard Paris you should get it. It is one of the most affecting performances I've heard.

On many sides, many sides...

The Apollo single by the Gospel All Stars is mentioned in the April 14, 1958 edition of Billboard, so it may be that it was actually recorded after the Ray Charles tune. "At Apollo there is also increased activity, with a record by the Gospel All Stars," That's Why I Love Him So", released last week and more to come." Apollo had previously (ca 1955) been sued for infringement in another case, although it might not mean anything.

Don't miss "Brazilian Impressions" on Command. It has a nice semi-authentic rhythm/percussion section and Clark Terry on flugelhorn. Dick Hyman himself sounds mainstreamingly pianistic in a way that suits his somewhat eccentric but pleasant arrangements for a woodwind-heavy ensemble.

After almost two decades on the fence (this set came out in 1998!) - because I had most of this material in some form - I ordered the Hank Mobley 50s Mosaic set in the aftermath of the alarming reports about Mosaic a few months back. I chose the cheaper air mail option without tracking info; though my PayPal account was billed instantly it took a month before the set shipped and then two more weeks to get here, but anyway, now it's here. The set has number 7037!

Johnny Depp could afford to save Mosaic Records just by switching to a less expensive wine... But maybe you can't get a decent wine at just $300 a bottle these days?

"The main reason for doing this rather major project was to put my collection into some kind of compendium form that would attract my children to the music that had been of such significance in my life. " Unfortunately there are speed problems on these tapes. I sampled the (a?) Sinatra collection and 'New York, New York' was in Db.

Hi folks! I guess I can't really envision the risk of "going digital" leading to total surveillance of my music listening. I agree with those who look upon a downloads more or less as antiquated as compact discs. They just represent two different means of storing a data file, of which the CD is easily the least durable. A cload storage solution is infinitely less susceptible to data loss than a layer of aluminium on a plastic disc. Now, this distinction is partly becoming obsolete as streaming has all but replaced legal downloading, except for niche markets like hi-resolution files. There will always be artists and albums, especially for a jazz fan, not available on many or any streaming services. To the extent that LP, CD, reel-to-reel playback and so on is not feasible, we're left to transfer our outdated media to some suitable digital platform on our own. Since there's now a royalty mechanism for YouTube (although I don't know how well it works) there may be some collective effort (compare to discogs.com) where we could all upload our private transfers of OOP LP:s and whatnot to a big cloud from which everything can be streamed. If the title is the digital equivalent of "in print", the "offical" version is streamed and appropriate lincence fees are being paid. If the title is not officially available some kind of arbitrary royalty/licence mechanism will be used. I'm not saying this is better for the artists, better for the industry or even better for the consumers compared to the "old" model, but it's a possible development. It seems that the LP cover/CD booklet is a big factor for old-school music listerners (like myself), just like there's still a market for printed magazines. I expect this to change. There will be functional and inexpensive digital solutions for displaying text and pictures. The annual production of paper today exceeds 400 million tonnes, which doesn't seem like a sustainable use of natural resources.

Even so, the playing time of several sides would have to exceed 25 minutes each, which is what prompted Kevin's comments.

Again, many thanks to you all for taking the time to dig into this test and sharing your thoughts. That you find the selections amazing is more than I ever would have hoped for. Yes, I forgot to add a smiley! It was more than 10 years I watched it, but this theme (not the Harold Land solo) is heard faintly in the background during a scene from some kind of political cocktail party. Yes, I forgot to add that! I've edited the initial post. You're welcome! I was initially uncertain if the Legrand track wasn't enough jazz, but I'm glad I included it now. So very true! :-)

Thanks to all who participated! I can’t believe it was more than ten years since my previous BFT. Maybe I’ll do another one in just five years.  1. Börje Fredriksson Quartet ’Intervall’ (Fredriksson) Album: “Intervall” (Columbia SSX 1021) Rec: Stockholm, June 22, 1965 Börje Fredriksson (ts), Lars Sjösten (p), Roman Dylag (b), Fredrik Norén (dr) Link to previous thread on Fredriksson: http://www.organissimo.org/forum/index.php?/topic/76194-b%C3%B6rje-fredriksson-1937-1968/ 2. Trumpetmachine, Directed by George Gruntz ’Hot Diggedy Damn!’ (Ambrosetti) Album: For Flying Out Proud (MPS 15503) Rec: Villingen, June, 1977 Franco Ambrosetti (flh), Jon Faddis, Kenny Wheeler, Palle Mikkelborg, Woody Shaw (tpt), Mike Zwerin (bass tpt), George Gruntz (el p, Arp 2600), Isla Eckinger (b), Daniel Humair (dr) I find George Gruntz records for SABA/MPS to be fascinating in that they cover many different styles. This one is of course very much of the 70s, but has some distinct features. The LP cover names three trumpet soloists although there are only two solos, so I presume solo number two is only the short interlude; 1: Kenny Wheeler, 2: Franco Ambrosetti, 3: Woody Shaw. Not reissued on CD. 3. Hampton Hawes ‘My Romance’ (Rodgers-Hart) Album: The Challenge (Victor SMJ 7488) Rec: Tokyo, June, 1968 Hampton Hawes (p) I had heard about this album long before I actually found a copy. Even so, I wasn’t fully prepared to hear Hawes’ touching performances. One of my favourite solo piano albums. Inexplicably this album has to my knowledge not been reissued on CD. 4. Friedrich Gulda und sein Eurojazz-Orchester feat. Jay Jay Johnson ‘Eurosuite, part 1’ (Johnson) Album: Eurosuite/Variations (Preiser Records SPR 3141) Rec: Summer, 1966 Ernie Royal, Rolf Ericson, Kenny Wheeler (tpt), Ray Premru (bass tpt), J.J. Johnson, Erich Kleinschuster (tbn), Rudolf Josel (btbn), Alfie Reece (tba), Ralf Isakson (F hn), Herb Geller (as), Tubby hayes (ts), Hans Salomon (bcl), Ronnie Ross (bari), Pierre Cavalli (g), Friedrich Gulda or Joe Zawinul (p), Ron Carter (b), Mel Lewis (dr) This is, I think, a much better version of Johnson’s big band suite than on his own album on RCA. As a bonus you also get the third movement of the suite which wasn’t on the RCA album. Wonderful live recording from an unknown Austrian(?) location. I think Johnson was an excellent arranger who should have had more opportunities to write for big bands or larger groups. 5. David Amram ‘Cantina Latina, Korea 1952’ (Amram) Album: The Manchurian Candidate complete film score (Premier PRCD 1059) Rec: Hollywood, Spring, 1962 Carmell Jones, Joe Gordon (tp), Dick Leith, Lou Blackburn (tbn), Paul Horn (as), Harold Land (ts), Jack Nimitz (bari), David Amram (p), unknown (b), unknown (dr), unknown (perc) Harold Land's presence on this soundtrack was unknown to me before the release of the soundtrack on CD. Apparently Land appeared on another Amram soundtrack as well. I suppose the sound quality may have fooled some listeners as to when this track was recorded. 6. Michel Legrand ‘A Time for Love’ (Mandel) Album: Cinema Legrand (Fontana International 858 069 FPY) Rec: ca 1967 Michel Legrand (arr, cond, maybe also piano), others unknown See my comments in the discussion thread. Not reissued on CD. 7. George Gruntz Jazz Group+Beduinen ‘Nemeit’ (Gruntz) Album: Noon in Tunisia “Jazz Meets Arabia” (Saba SB 15132) Rec: Villingen, June, 1967 Sahib Shihab (fl), Jean Luc Ponty (vln), George Gruntz (p), Eberhard Weber (b), Daniel Humair (dr), Salah El Mahdi (nai, darbouka, bendire), Jelloul Osman (mezoued, bendire, tabla), Moktar Slama (zoukra, bendire), Hattab Jouini (tabla, darbouka, bendire) Another album from Gruntz that doesn’t succeed in every respect, but is fascinating nevertheless. This was one of several “jazz meets…” albums on Saba around 1967. All of them have their merits, I think. 8. Jazz Studio Orchestra of the Polish Radio ‘Rajd Safari’ (Milian) Album: Jazz Studio Orchestra of the Polish Radio (Muza SXL 0569) Rec: Warsaw, Oct, 1969 A. Mazurkiewicz, B. Dembek, F. Górkiewicz, F. Kowalski, T. Stanko (tp), A. Piela, K. Pradella, J. Munial (ts), H. Rzezniczek (bari), Jerzy Milian (vib), B. Suchanek (b), J. Stefanski (dr), J. Barz (cong), Jan “Ptaszyn” Wroblewski (ld, cond) This is kind of a Polish rip off of ‘Maiden Voyage’, but I love the groove. Those interested are advised to search out other records from vibist Jerzy Milian. The track has been on a compilation of Polish jazz, but the album as a whole has not been reissued on CD. 9. Harry Bäcklund Quartet ‘Body and Soul’ (Green) Album: Remembering Harry (Anagram ANA CD 6) Rec: Early 1960s. Harry Bäcklund (ts), Knud Jörgensen (p), Sture Åkerberg (b), Sture Kallén (dr) Sadly, Harry Bäcklund is a forgotten figure, even in Sweden. He was a favourite of Lars Gullin’s and is featured on a few of his recordings, but aside from that not much can be found on record. Although not distinctive in means of a unique style, I think his playing is very fine. He was troubled by unspecified “illness” and had dropped out of music by the 70s. He died in obscurity in 1978, only 42 years old. Although he never recorded an album under his own name, but his group made several broadcasts for Swedish radio. Unfortunately, all of those seem to be lost. This track was released on a compilation of Bäcklund recordings pulled from various collector’s tapes by the obscure label Anagram, run by David Reid, who also had an excellent jazz record shop in Stockholm during the 90s/early 2000s. Reid is now retired and both the shop and label are long gone. Here’s one very rare clip of Bäcklund in a Gullin group playing ‘Milestones’: https://www.youtube.com/watch?v=fnLYkmKU5ms I’ve got the rest of that TV broadcast on VHS somewhere. 10. Dave Mackay & Vicky Hamilton ’Here’ (Mackay) Album: Dave Mackay & Vicky Hamilton (Impulse AS 9184) Rec: Hollywood, June, 1969 Dave Mackay (p, voc), Vicky Hamilton (voc), Ira Schulman (ts), Ray Neapolitan (b), Joe Porcaro (dr), Fransisco Aguabella (cong) Mackay and Hamilton made two albums for Impulse, but have mostly stayed under the radar ever since. This is like the Brasil 66 but with a slightly more sophisticated jazzy touch. Mackay played behind Chet Baker at one time and made a few more albums on small, independent labels. 11. Radiojazzgruppen ‘Zero’ (Ericksson) Album: Höstspelor (Sveriges Radio RELP 1058) Rec: Stockholm, April 23, 1968 Bertil Lövgren, Rolf Ericson, Jan Allan (tp), Runo Ericksson (bass tbn), Arne Domnerus (as), Claes Rosdahl (fl), Lennart Åberg (ts), Erik Nilsson (bari), Jan Johansson (p), Rune Gustafsson (g), Georg Riedel (b), Egil Johansen (dr), Sabu Martinez (cong) Parts of this album were reissued by Dragon Records, but this track has not been out on CD. This is from the days when Swedish Radio had a part-time but permanent ensemble, led by Arne Domnerus, recording a string of new compositions and arrangements for regular broadcasts. Besides featuring some well-known Swedes it has Sabu Martinez (who moved to Stockholm in the 60s) on congas. 12. Herb Geller ’Space a la Mode’ (Geller) Album: An American in Hamburg – The View from Here (NOVA 6.28332) Rec: Hamburg, January, 1975 Palle Mikkelborg (tp), Herb Geller (saxes, flutes), Rob Franken (el p, Arp synth), Gottfrid Böttger (synth), Philip Catherine (g), Wolfgang Schlüter (vib, perc), Hans-Lucas Lindholm (b), Alex Riel (dr), Mark Murphy (voc) This was reissued on CD by Tramp Records in 2013 and is a very handsome release, but they forgot to mention any of the sidemen. In 1975 it was Geller’s first own album since the late 50s. Very nicely arranged, I think. 13. Ingrid Jensen ‘Vernal Fields’ (Christine Jensen) Album: Vernal Fields (Enja ENJ-9013 2) Rec: New York, October, 1994 Ingrid Jensen (flh), Steve Wilson (as), Bruce Barth (p), Larry Grenadier (b), Lenny White (dr) I think this is a wonderful tune, written by Ingrid’s sister Christine, and I’m surprised is hasn’t been recorded by others. I’ve always found Ingrid to be a personal and honest voice who should be more well known. 14. Hank Jones ‘Love, Come Take Me Again’ (Wilson) Album: Here’s Love (Argo LPS-728) Rec: New York, October 19, 1963 Hank Jones (p), Kenny Burrell (g), Milt Hinton (b), Elvin Jones (dr) Se my comments in the discussion thread.

Any more thoughts or guesses before I'm revealing the full track list in a few days?

I would have assumed that if it was a staged photo of McQueen as a jazz fan they would use a grab bag of miscellaneous LP:s from the jazz section of a record store, including a few possible duplicates.

More about this gig and the Alan Grant bootleg: http://gc-pepperadamsblog.blogspot.se/2014/04/double-trouble-alan-grant-george-klabin.html?m=1

Also, a few words regarding Hank Jones. I've always loved Hank's early to mid recordings (50s-60s) and he was one of the first jazz pianists I heard as young. What always strikes me on his recordings from this period (including an array of Savoy dates both as leader and sideman) is his immaculate timing. He never rushes, he's on the beat when he wants to and he makes these tiny shifts back and forth to add some feeling that to me always sounds completely right. His solo on this track is 30 seconds long, and I can listen to it again and again just because of his beautiful timing. What's maybe not apparent on this very short track is that he's not always polished and uneventful. He sometimes may add a dissonant note or chord that may pass by a casual listener because of his delicate touch but that shows that there's a lot more depth to his harmonies than some people might think.

#2 - You're right; it's Woody. But he's not the only soloist. Hino is not present. #5 - Very good, it's Harold Land. This recording is not very well known and I doubt many here have heard it. #12 - As confirmed above, it's Murphy. #13 - No, it's not Kenny Wheeler. #14 - See Hot Ptah's post above, In my view, Legrand is the greatest living arranger, but he was at his top as a film composer in the late 60s. There are so many dimensions in a short track like this one that I can listen to it a hundred times. I've got a Dutch Fontana pressing that has a nicer cover than the MGM release: Not released on CD to my knowledge.

It was simultaneously released as a single LP on Atlantic titled "Rhyme and Reason". The original on Nova was a double album with instrumental versions of all the tracks and one additional title. It's a bit of a surprise for those who only know Geller's earlier American recordings. By this time he had been a German resident for some time and had been playing with Peter Herbolzheimer's Rhythm Combination & Brass, which I think may have been a source of inspiration for the "contemporary" sound. Several tracks feature harmonized solos from Geller who overdubs a sax section over his original solo á la Supersax. Geller wrote the lyrics, BTW. I think Mark Murphy is terrific in this context. Many thanks for the compliment!

Good work, etherbored! Thom also had at least two correct guesses. Will comment later today. A hint: Two tracks that still haven't been fully identified are by the same leader. Recorded ten years apart.

Quite right! As stated above, I'm fascinated by Elvin Jones as a bossa drummer, since it's so obviously out of his usual bag and yet he sounds very much like himself. There are always slight time shifts back and forth in his playing that somehow make it sound both loose and "stiff" (for lack of a better word) at the same time. Another great example is Corcovado on Grant Green's 'I Want to Hold Your Hand' album.