Daniel A

From here: http://www.hmv.co.jp/en/artist_Art-Blakey-Jazz-Messengers_000000000327256/item_Free-For-All_5905870 it appears to be an alternate take of the title tune.

Maybe I've missed something, but the post on page 1 where albums with previously unissued tracks were indiciated has disappeared. Is this information easily found elsewhere, as well as a complete list of the whole series? EDIT: I've answered my own questions by searching for the UCCQ and TYCJ prefixes at hmv.co.jp.

They are not talking about economics, but about personal preferences. No need to argue about that. I would have agreed too, except that I'm not an Apple guy and have never owned an "i"-product.

Cedar Walton's solo on 'The Sahdow of your smile' from Eddie Harris' 'The In Sound'. I can sometimes hear it in my head.

I had a quick look among my classical LP:s and didn't find the one I was thinking of, although I found a London pressing of a 70s Decca recording of Mahler's fifth symphony where side one is 39:59. However, side two is only just over 20 minutes.

The maximum playing time depends on the dynamic range of the material. I suppose you could make a very long LP with only silence on it. I have a classical album somewhere on which each side exceeds 40 minutes.

I get the feeling that public jazz awareness, while still low, is higher in Europe (well, I can vouch for Sweden anyway) than in the US these days. It happens from time to time that I see copies of mainstream jazz albums in homes of "average" people. And even if some people cannot name any jazz musicians, many of them seem to identify that typical west coast, lounge or 40s-50s mainstream jazz is in fact jazz. Electric Miles - probably not. I suppose that it helps having a few national heroes like Jan Johansson, Lars Gulin and Arne Domnerus. Most people seem to have heard of any or all of those.

I'm very saddened to hear this. Kenny Wheeler's recordings helped me go outside of the jazz I had experienced in my mid 20s. I will always remember when I heard 'Gnu High' for the first time. While I visited a student festival in a Swedish city many years ago, I met with the brother of friend for the first time. He was then just shy of 20 years and a jazz trumpet student. We searched the bars of the city for a piano so that we could jam together, but had no luck in finding a playable piano. So, well after midnight we decided to take a train to the school he was attending (a one hour ride) just to be able to play. When we got there at 3 am we had lost what little energy we had left, and played half heartedly for half an hour. Instead we went to his minimal apartment to listen to some music. Right there, in the middle of the night and a long way from the festival I had intended to attend, he played me Kenny Wheeler's 'Gnu High' album, and it had an enormous impact on my search for new music. Kenny's lovely trumpet sound and compositional genius will be very much missed. RIP, Kenny.

I really like Baker's playing on "Jazz in the Space Age" but have not heard anything else. Recommendations?

A very welcome addition for fans of the Pacific Jazz label and an invaluable resource for researchers. Many thanks!

Please forgive a non-native English speaker - what would "blowing snakes" mean? Ah, that's too bad!

Well, I don't expect that many other posts in this thread, because I doubt that many of the forum members have heard of, let alone heard, this Swedish tenor player. However, I think there should be a thread dedicated to him anyway, because of his influence on some other Swedish musicians and his obscurity today, even in Sweden. He was tragically under-recorded, having released only one LP during his lifetime. There was one posthumous LP; aside from that there are some airchecks and collector's tapes that I have mostly not heard myself. Apparently disillutioned with the music business, and - I would presume - suffering from depression, he took his own life in 1968. What cast a shadow over his saxophone playing more or less from the start was the recurring judgment that his playing was similar to, or overly influenced by the playing of John Coltrane, something that seem to have hurt Fredriksson greatly. Today, I feel that this "accusation" was somewhat unfair. In a 1963 interview his own comment was: "Not one phrase is stolen". In 1957 at the age of 20 he bought his first saxophone, and was gifted enough to be able to play publically only a year later. Something that would hamper his career and general impact was the inability to find like-mided musicians in Sweden. On the few recordings there are, his bands are often stuck in a hard bop style, or otherwise not really at his level, even though a later association with Bobo Stenson fares a bit better. There is only one clip of Fredriksson on Spotify. Despite the clip info, it seems to have been recorded in April/May 1963. Tellingly, it has had less than 5000 views in nearly five years. Only the last minute of the clip hints at the more atonal approach heard on some live recordings. http://www.youtube.com/watch?v=yso5RyFzMMs Here are links to the two LPs on Spotify: 'Intervall' (rec. 1965-66) http://open.spotify.com/album/6l3WEMi8QXCFu8W9IW1X5p 'Börje Fredriksson' (rec 1966-67) http://open.spotify.com/album/1mXiykbQZBrMa64ixkJeOX A good overveiw of his carreer in Swedish, for those who want to put Google translate on test: http://www.digjazz.se/Artiklar.Borje%20Fredriksson.html

Hi Daniel, thanks for your recommandations. Been just streaming your selection. Frederiksson must have listened a lot to Long Tall Dex. I hear a lot of Gordon in it. Now just listening to Staffan Abaleen Quintet. To me up til now totally obscure - but this is very good! Will come back to it again. As a big admirer of Lars Gullin I know a lot of him and got a handful of his recordings. A gentle giant and real poet. Next I will listen to Hallberg of whom I know only some pieces.. Now again my recommendations of Swedish jazz: Arne Domnerus Favourite Groups 1949-1950 (Dragon) lots of beautiful clarinet in it. Rolf Ericson Miles awaý 1950 -52 (Dragon) love his tone and phrasing Thanks! Börje Fredriksson is a fascinating figure in Swedish jazz, both influential and neglected at the same time. He deserves a thread on his own (he is in fact only mentioned once on this forum, and that was in passing in a promotional post for something else), but I've hesitated to start such a thread because there is simply so very little recorded evidence of him. I may do so anyway, even though I expect meagre feedback.

Not today, but last Monday: Gary McFarland 'Profiles' Dave Mackay / Vicky Hamilton 'Rainbow'. I never really knew there was a follow-up to their first LP on Impulse, which I've always liked for what it is, inobtrusive late 60s pop-jazz with a feeling. In some respects 'Raibow' is the more interesting, in that it is more jazzy and sometimes more experimental. I'm now listening to it for the first time. Apart from Mackay on piano it has Ira Schulman on flutes and saxophones, Joe Pass on guitar and a rhythm section consisting of Chuck Domanico and Colin Bailey.

Thanks! Some previous discussion here: I see that Steig's 'Flute Fever' is in the latest batch. In this case, I'm glad Jonathan Horwich beat them to it (for those who haven't followed the JLH reissues thread: http://internationalphonographinc.com/cd_reissues_jeremysteig_flutefever.html). Edit: And Lon beat me!

While I have released a CD of my own, I'm an "outsider" and I urge you to apply "FWIW" on my thougts. If two pressing plants are using the same master, that means that the same 1:s and 0:s are supposed to be on the end product. If a CD-ROM for computer use is manufactured, one single bit error may render a complete file - and possibly the whole program - useless. I'm assuming that the tolerances are the same when manufacturing audio CD:s. It is true that the audio CD standard employs error correction (which is not the case with CD-ROM:s). A theory that I see mentioned sometimes is that if the error correction circuit of the CD player is forced to work extensively, it may cause the sound to appear shrill, or affected in some other way. Given that this even is the case - which I haven't seen being proved - it would have been caused by either a CD which is way below normal standard or a faulty laser in the CD player. So, to actually sound different, the CD would pretty much have to be regarded as defective.

Now (one week later) it's up to £92.99...

To find out if two different pressings are bit identical, you may compare the checksums displayed for each track by ripping software like EAC (Exact Audio Copy). If the checksums are identical, so is the data.

This Dan says: happy birthday, Dan!

"Freddie Hubbard / Wind which is not standing" Yes, thanks Ubu!

OK, that makes sense!

I'd translate it as "the evergreen rut". Interesting! No common members across the groups, and the Svensk Jazzdiskografi doesn't give composer's credits. The 'Funky Five' recording was made in October 1961. One thing is curious, though. The reviews were in the September issues (the festival is during the summer, no?), but the video says the performance took place on November 18, 1961.

Thanks again! No, I don't have those magazines. The tune 'Amen' was recorded by another Swedish group, "The Funky Five", in 1961. Maybe one of the rhythm players was common to both groups. It could have been Lasse Bagge at the piano, but I haven't seen this early pictures of him.

Thanks, Steve! Does any of the magazines list any tunes from the group's appearance? I'm curious if they were mostly Färnlöf's compositions. I couldn't identify the players in the rhythm section, so any information regarding them would also be appreciated.

Fascinating! I never knew there was footage of Netz. Interesting that the band is billed as Netz's group. The diminutive trumpeter is Lars Färnlöf, who wrote the tune ("Pia") as well as all but one of the tunes on the Abeleen albums mentioned above. Thanks for posting that.