Daniel A

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.

Wasn't this Fickle Sonance Rather than Capuchin Swing? Bertrand. Yes, you're right of course. However, the Capuchin Swing JRVG sounds a bit obtrusive. Jeff and others - thanks for your ecouragement! My disappointemnet did only last a few seconds and I'm certainly looking at it from the humorous side. What's funny is that she's almost always going for the McLean albums. The the nearby Mobleys are of no interest at all!

"Someone" in this case is my 7 month old daughter. Since she's all over the place now I had thought of moving the lower shelves of my CD collection (the letter 'M' happens to be within her reach) and I had already removed the other McLean and Mobley JRVG:s, but yesterday it turned out that I missed 'Capuchin Swing'. Also, Lee Morgan's Live at the Lighthouse box now looks slightly dissolved. No big deal, the CD is not affected, just the cover which looks "eaten". It will serve as a nice memory of this exciting phase in her life. I think I might have gotten this from J.A.W. many years ago, and as it happens he is now offering the BN Works version of this title, so maybe I should get that one instead. After all, the JRVG sounds like AM radio.

IIRC he held up the RVG release too a few years ago (thread somewhere at this board), allegedly because of the title of the album which LaRoca feared would cause controversy.

Thanks for your response, Marcello. What there is is terrific, and I wish there were more recordings of Ruggiero.

I've always been intrigued by the drummer Vinnie Ruggiero, but there's very little info to be found about him. Here on this forum he has been called "infamous", but so far noone has been willing to elaborate. I've mainly heard him on the albums with Slide Hampton's group from the early 60s. He plays with great, swinging feeling and can somehow also sound slightly insane at the same time. Any information about his life and playing would be appreciated.

Yeah not only does the Rhodes sound great, Corea's performance on LAAF is exemplery. Plus it's a textbook example of how to comp behind soloists. Period. There's really a special atmosphere to that album. Regarding the Rhodes sound, Corea said this in the liner notes for the expanded 1998 CD: "It was just a pickup Rhodes and a pickup amplifier - rentals. The amplifier was miked, with no direct line." He also regretted losing the wah-wah pedalused at the sessions; "I was never able to find that particular pedal again."

The CD is hard to find and often very expensive. The original CTI LP is probably easier to find. It was also reissued in a cheaper-looking edition under the title "Song of the Wind" (one of the tunes on the album and one of Chick Corea's more haunting compositions, here done as a piano-oboe duet). What's funny is that it's actually mostly a quintet album . You won't regretting getting it, but IMO Farrell never sounded better than on the two first RTF albums. (BTW, the Fender Rhodes as an instrument never sounded better than on 'Light as a Feather'!) But the albums with Elvin Jones are nice as well.

Jeff - a nice surprice to see you here again! I've not been posting much here since around 2008; family and everyday life take up most of the time. But I still check in sometimes. I hope you'll stick around!

Happy birthday, Hans! To add to the festive atmosphere I'm attaching the cover of a Swedish LP of congratulatory songs, the musical style of which would however not be to your liking.

I really would have liked to hear the extra material. I agree that '69 is the most enjoyable of the Lighthouse albums. I suppose a Japanese reissue, which would seem the only - remote - possibility, wouldn't include the bonus material.

Many thanks to James Harrod for providing me with a more extensive answer than I would have hoped for (and to romualdo for bringing this thread to James' attention)! I do not own any issued labelography; my experience comes solely from what is available on the web. My previous thread about Pacific Jazz and World Pacific labels can be found here:

A book on Pacific Jazz? Good news indeed! PJ was a significant label that deserves a volume of its own. As has been noted in another thread it is also in need of a proper labelography (as well as a discography).