Daniel A

In Sweden, streaming is indeed saving the music industry. According to figures that were made public recently, digital sales accounted for 79 percent of the revenue during 2013, and 75 out of those 79 were generated from streaming; only 4 percent from downloading. Total revenue for the (Swedish) music industry has grown rapidly for the last few years and now seems to be at the same level as about ten years ago.

Sometimes it seems as if some albums on Spotify come and go and then come again without an apparent reason. You might find that a few tracks on a certain album are unavailable in your country, but then discover they are available as part of a legit compilation album.

I agree with this. For me, Jacknife is the one I'm returning to the most, if only because I love "Blue Fable". I like Jackie the most when he's going almost out, but over chord changes (as opposed to more "free" contexts).

Joe Pesci?

Tom Evered once confirmed that the master tapes were lost. Judging from what I hear, I think the previous "Blue Note Works" TOCJ reissue was a vinyl transfer too, albeit better done than the US Rare Grooves edition.

The cutting edge comment was your first reply to Ligeti. Obviously you found him full of himself, and it bothered you enough to make a sarcastic and rude remark. That kind of action does not exactly serve to generate civil discussion or move the thread forward. I think here are other ways to read Ligeti's post. Edit: further comments deleted.

Unless his blood turned into salt I'm sure he'll be back in 2016. Watched the film at the age of 10 on TV without parental guidance and it made a lasting impression! However, the score - which is fantastic - did not register with me until second viewing 20 years later. I'm sure there'll be a third time one of these days.

Oh no! Too late! Well, belated birthday wishes, Jeff!

The Bernstein symphonies box ran out but is now back at Italian Amazon. Those interested should probably act soon. A friend at (Swedish) Sony said they were unable to get a copy for me because it was out of print.

Thanks everybody! Sorry for not posting this earlier. Even if the world is probably past "peak Facebook" staying out of it (like I do) means nobody remembers your birthday. Besides you and a few internet friends the only ones who did were wife, parents and an aunt. Anyway my wife took me to see 'Flashdance' which is running as a musical at a theatre in town.

Happy birthday, Paul! Thanks for your contributions to these forums.

I'm very late, but nevertheless: happy birthday!

I just ordered the Berstein symphonies box. Too good to pass, and now only two sets in stock at Amazon Italy.

I went by Andra yesterday when I had an unexpected free hour in the afternoon. That doesn't happen often with two small children at home (I'm currently on paternity leave). Sure enough Mats Gustafsson was in the shop - apparently he's currently on tour in Sweden - and the owner was in a jovial mood. When I entered Mats had just auditioned a copy of Herbie Hancock's 'The Prisoner', original Liberty pressing, but found it (the music, I presume) "no good". Even before I got to the shop I had decided to look for Gil Evans' LP only 1970 album on Ampex records. That title has kept me curious for 25 years but I've never knowingly come across it or actively sought it out. In high school there was this guy who knew both jazz history and the then current scene. He went to another college, but I used to run into him once or twice a year. When I was 16 years old and getting into jazz (from Peter Nero through Oscar Peterson to Red Garland) he told me "You should listen to Miles Davis' album 'Kind of Blue'". I did that and it had an enormous impact on me. A year later he told me "You should listen to some Gil Evans. Try 'The Individualism of Gil Evans'". I did that and I'm very thankful for where it led me. In the CD liner notes for 'Individualism' the Ampex album is mentioned as something GIl never would want to see released again as it consisted of orchestral sketches not fully realized or something to that effect. Naturally it made me curious. So yesterday I walked into the store, found a mint copy for not much money and brought it home. It bears repeating - Andra is great!

Fair question. Lack of interest in life? In others? In musical possibility? In the things that any educated person knows about music? Like if you never read a book by a person who had been alive during your lifetime and didn't think anyone else should either? Could be anything, I don't know. Those are possible answers (and I can think of others that are not as condescending) to the question why a performer doesn't do works by living composers, not the question why he/she does have to do them.

I think that all the talk about how flawed this is as a concept is blowing the whole thing out of proportion. You can also choose to believe that this was a just a modest experiment, one that may have its merits but will only appeal to a minority. I chose that way and I'm enjoying life and music as much as ever.

I like it, but I haven't listened to it in a while. It is included on Mosaic's set: The Complete Mercury Art Farmer/Benny Golson/Jazztet Sessions. The concept is flawed! There is no "10" on a telephone dial!

So, from those of you who have read both (which may not be too many) - which of Gavin's and Chambers' biographies should one read (first)? (If anyone wonders where I got the Gavin quote above if I haven't got the book I found it in a Google cash of that page)

Previous thread on the 'Blue' album:

I'm I decade late, but as for the speculations about the dedicatee of 'A Crutch for a Crab' earlier in this thread I can add that James Gavin claims that it was in fact written for Arthur Rubinstein, allegedly Twardzik's hero, and "whose hands, Twardzik felt, looked like crabs on the keys".

Happy birthday, Guy!

Fascinating thought! The true Warne? Or the "Euro" Japanese...

You know, when I discovered the BNBB I first thought that moniker was some weird reference to tomatoes. I thought so just now MG Were you there back then, or did you join "the community" here at O?

Thanks, folks. I don't want to appear obsessed with the technical aspects of these reissues. It's good that so much of the music is available. It was also quite fun comparing the different releases and formats. I may end up just making FLAC:s from the LP. I haven't played it in a while, but recall the Jarrett 'Exit Signs' sounded OK. Do you have it, Clifford?

You know, when I discovered the BNBB I first thought that moniker was some weird reference to tomatoes.