Daniel A

I placed an order for it a few days ago. Will get back with my thoughts when I've got it. I've not heard much of Dankworth's orchestra (I've got 'Windmill Tilter' and an LP copy of '$1.000.000 collection') and I'm looking forward to it.

There have been a couple of batches during the last months and it looks like most of the original LT series has been reissued. For reference, the catalog numbers are: TOCJ-50271 Lee Morgan 'Sonic Boom' (LT-987) TOCJ-50272 Wayne Shorter 'The Soothsayer' (LT-988) TOCJ-50273 Dexter Gordon 'Clubhouse' (LT-989) TOCJ-50274 Grant Green 'Solid' (LT-990) TOCJ-50275 Donald Byrd 'Chant' (LT-991) TOCJ-50276 Jimmy Smith 'Confirmation' (LT-992) TOCJ-50277 Stanley Turrentine 'New Time Shuffle' (LT-993) TOCJ-50278 Jackie McLean 'Consequence' (LT-994) TOCJ-50279 Hank Mobley 'A Slice of the Top' (LT-995) TOCJ-50280 Bobby Hutcherson 'Spiral' (LT-996) TOCJ-50281 Lou Donaldson 'Midnight Sun' (LT-1028) TOCJ-50282 Andrew Hill 'Dance With Death' (LT-1030) TOCJ-50283 Lee Morgan 'Taru' (LT-1031) TOCJ-50284 Grant Green 'Nigeria' (LT-1032) TOCJ-50285 Stanley Turrentine 'In Memory Of' (LT-1037) TOCJ-50286 Larry Young 'Mother Ship' (LT-1038) TOCJ-50287 Bobby Hutcherson 'Patterns' (LT-1044) TOCJ-50288 Hank Mobley 'Thinking of Home' (LT-1045) TOCJ-50289 Dexter Gordon 'Landslide' (LT-1051) TOCJ-50290 Ike Quebec 'With a Song in My Heart' (LT-1051) TOCJ-50291 Jimmy Smith 'Cool Blues' (LT-1054) TOCJ-50292 Wayne Shorter 'Etcetera' (LT-1056) TOCJ-50293 Harold Land 'Take Aim' (LT-1057) TOCJ-50294 Lee Morgan 'Tom Cat' (LT-1058) TOCJ-50295 Stanley Turrentine 'Mr. Natural' (LT-1075) TOCJ-50296 Hank Mobley 'Third Season' (LT-1081) TOCJ-50297 Jackie McLean 'Vertigo' (LT-1085) TOCJ-50298 Bobby Hutcherson 'Medina' (LT-1086) TOCJ-50299 Art Blakey & The Jazz Messengers 'Africaine' (LT-1088) TOCJ-50300 Lee Morgan 'Infinity' (LT-1091) TOCJ-50301 Jimmy Smith 'On the Sunny Side' (LT-1092) TOCJ-50302 Stanley Turrentine 'Ain't No Way' (LT-1095) TOCJ-50303 Donald Byrd 'Creeper' (LT-1096) These seem not to have been reissued: The Jazz Crusaders 'Live Sides' (LT-1046) Joe Pass 'The Complete "Catch Me!" Sessions (LT-1053) Art Pepper 'Omega Alpha' (LT-1064) Art Blakey And The Jazz Messengers 'Once Upon a Groove' (LT-1065) Leo Parker 'Rollin' With Leo' (LT-1076) Blue Mitchell 'Step Lightly' (LT-1082) Ike Quebec 'Congo Lament' (LT-1089) Bob Brookmeyer And Bill Evans 'As Time Goes By' (LT-1100) Gerry Mulligan 'Freeway' (LT-1101) Jean-Luc Ponty Live At Donte's (LT 1102) Joe Pass 'Joy Spring' (LT 1103) Since the other titles were released in the order they were initially issued a guess is that these will not come out this time.

Blue Note, MPS and Verve.

Watch for the Yen sign ¥. As far as I can tell the official price for these are ¥1000, which equals £7.85, $12.73 and €9.75.

If you turn the volume down below a certain level the ads will freeze. If you're using external speakers you could always turn down the volume on those, of course.

I find 'Crying Song' to be the least interesting of Laws' CTI albums. I'd say - relisten only if you have the album at hand.

You mean the three syncopated hi-hat/bass drum accents? Is it "proven" that Purdie actually invented that lick? BTW, Tate used that exact lick on the Hubert Laws album 'Crying Song' (on "How long will it be") which was recorded just two weeks before 'Uptown...', and incidentally his sound is untypically Purdie-like on that session, maybe partly because of the miking; the bass drum is distorted from being recorded too hot.

Here are some interesting figures: http://www.spotidj.com/spotifyroyalties.htm I take it the royalties are not much different from what old fashioned FM radio generates if you divide the outcome with the number of listeners.

Thanks for your input! To me, it sounds as if he somehow always had a jazz musician's approach to backbeat playing, and it makes it all the more interesting for me. I sense something similar from Tootie Heath's playing on Hancock's 'Fat Albert Rotunda' which makes quite a contrast with the tracks with Purdie.

A message to poster Blue Train: Whatever points you may have are lost because of how your posts in this thread are percieved. This is how they look to me, a relative outsider on this forum nowadays: You're deeply offended by the moderator's response to your complaints and you're now trying to drum up support, rather than keeping the whole thing in PM:s where it probably belongs. However, as the moderator - as well as his moderating - is generally regarded as quite reasonable by the forum members you're getting little sympathy, and you're now retorting to sarcastic manners to try to make everyone feeling bad. This is not doing you, or anyone else, any good. It is a fact that there have been few new members that stick around in later years. As for myself, I don't post much because work and family is taking most of my disposable time. Maybe the fact that there is less discussion about music over here is a factor too. Fewer members are responsible for the majority of posts than 5-10 years ago and because of that a bit of the variety is lost. To use the ever-popular bar analogy, it's a bar where one third of the guests is still consuming the same number of drinks. But what can you do? I don't think that you could tell people on what subjects they should post. I think the reception new members are getting is civil enough. But it may definitely be that the in-jokes and so on is just a little off-putting for new members.

Congrats, Dan! I hope you're enjoying your birthday!

Since Allen is outspoken about Fred Hersch I hope it's OK to comment on this thread in the same manner. I find the subject of this thread boring. It would have been interesting to hear some thoughts from the thread starter on why Hersch's playing does not appeal to him, something that would perhaps had inspired deeper discussion about Hersch's playing style. I think Hersch is an uneven player that sounds so much more inspired on some occasions, but more often seems to have an intellectual/conceptual approach to improvising (or so it sounds to me). I think he plays with great feeling on the '4 in Perspective' album with Kenny Wheeler. It's a live album; maybe he's more relaxed live than in the studio? I haven't heard enough of his playing to be able to tell.

Since Spotify and Facebook introduced their "collaboration", you must have a Facebook account to get a new Spotify account. A bad idea if you ask me. If you were already using Spotify when this came into effect, you're not required to join Facebook however.

I'm on Spotify and I get around 0,5 Euro cents per stream after the distributor (one of the majors) has taken its share.

I'm curious to know what people here think of Grady Tate as a drummer. I think his drumming style is instantly recognizable (as well as his customary high-tuned snare drum). He hasn't always figured in smaller jazz groups that I tend to enjoy the most, but he's perfect as a session musician on many studio orchestra dates, soundtracks etc. As a straight jazz drummer he often plays with a quietly intense sound that I think works very well on dates such as Stan Getz's 'Sweet Rain'. As my knowledge of 60s soul music is limited I'm also hoping for some perspective from fellow board members on his backbeat playing. He is one of the first jazz "session drummers" I know of that adopted groovy backbeats (for example heard on Jimmy Smith dates from 1967 onwards), and his polished style is very far from what, say, Bernard Purdie sounded like at the time. What I'd like to know is how original this style is, and to what extent it was inspired by other drummers completely outside jazz and probably beyond my knowledge.

My thoughts, exactly. Apologies if this has been mentioned earlier in the thread, but I've been watching a video of a German TV show from 1965 which, judging by his response, seems to represent the first time Johnny Griffin had heard Solal. After Solal's first solo, JG walks around the piano shaking his head, saying 'ridiculous!'. And indeed it had been. Wes Montgomery is also in the band (same time as the thing Niko mentions above). Not a bad lineup. I happened to watch this on YouTube just now and thought I'd share a link here: http://www.youtube.com/watch?v=ZUV63CV6d7g

Mega and all the other large shops have disappeared; only (some of) the second hand shops remain. 'Andra' is still Stockholm's best jazz shop. It's on a new location since your last visit, Rödabergsgatan 9. Website: http://www.andrajazz.com/

I wish You a happy birthday!

Tom Evered at Blue Note once confirmed that the tapes are lost, and that the RVG was mastered from vinyl.

No, 'Jim' would've gone "Jim". As for Spotify I use it exactly like you, except that I'm too frugal even to shell out 5 Euro/month for the ad-free version.

Since many ECM recordings in fact do share a certain sound and in general differ conceptually from, say, albums put out by the label Venus I think it's quite possible to state that there's an "ECM approach". This approach does not appeal to Peter Friedman. Why would that upset anybody?

I believe there's an old thread on the subject of the Paris concert. Some people in the audience were definitely annoyed, but as I recall it one board member (who might even have been present that night) could attest there was also whistling from excitement.

Grant plays chords behind Herbie's piano solo on 'Mr. Kenyatta' and they seem to clash few times; I would rather have heard that solo without guitar. Maybe if it had a really good cover?

Actually I didn't find the tracks posted above to be so bad and I would even buy this album if I found it for a couple of Euros. Jackie's own playing and saxophone sound is enough for me. I note that he's playing in tune and wonder if that might be the producer's idea.

Wait until she grows up a little and starts to assimilate Mobley's subtilities Actually, when I'm playing something on the stereo I try to observe if she takes any notice and how she reacts. Clearly she's responding more to certain music. A few days ago I played the Mingus LP "Let My Children Hear Music" and she was positively excited. I suppose she likes Charles McPherson.