Daniel A

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).

Used to be a very nice jazz shop here in Stockholm. He escaped the ongoing death of record shops by going strictly online already ten years ago.

In July of 1956 Chet Baker recorded several sessions at the Forum Theatre in Los Angeles. Some of the material was issued on the 'Chet Baker & Crew' album on Pacific Jazz. All the selections issued on the CD release of this album, including some six bonus cuts, are in stereo. In 2004 Blue Note released a CD called 'Young Chet'. It contains additional tracks recorded between July 24 and July 31, two of which are featuring just the rhythm section with Phil Urso. All of those are in mono according to the AMG review. I have one of these tracks on a Japanese CD reissue of the Pacific Jazz sampler 'Jazz West Coast'(TOCJ-5614) where it's also in mono. The AMG review says that "the seven tracks featured on Young Chet remained shelved for nearly half a century because no stereo masters could be located. They are presented here in monophonic no worse for wear." I suppose the reviewer got this from the liner notes of the CD (which I don't own). This does not seem entirely right. They were in fact released on a variety of Pacific Jazz samplers or on labels like Crown or Jazztone, although as far as I can tell they were all in mono. There was a mono (cat.no 1224) and a stereo (ST 1004?) release of the original album. But a lot of the additional tracks were not on the LP, so the stereo tapes must have been around for a while. Did the bonus tracks of 'Chet Baker & Crew' appear in stereo for the first time on the 1993 CD release?

JPC has sideman info and sound clips: http://www.jpc.de/jpcng/jazz/detail/-/art/Julian-Cannonball-Adderley-1928-1975-Legends-Live-Liederhalle-Stuttgart-20-03-1969/hnum/1617605 http://www.jpc.de/jpcng/jazz/detail/-/art/Gerry-Mulligan-Legends-Live-Liederhalle-Stuttgart-22-11-1977/hnum/1617623 http://www.jpc.de/jpcng/jazz/detail/-/art/Julian-Cannonball-Adderley-1928-1975-Legends-Live-Liederhalle-Stuttgart-20-03-1969/hnum/1617605

Once I nearly put my foot through a Stradivarius in an open case on the floor. It had been haphazardly left in the practice room at the home of a family of musicians.

That performance (and that program) duplicates the one on the Dragon CD, listed as from March 4, 1959, but the sound is much clearer on this video! Is this from a Jazz Icons release, or what, exactly? I've no idea where this is lifted; I just found the clip on YouTube. What's confusing is that the discography (as well as the Dragon CD?) states that this performance took place at "Södra Teatern" at March 4. However, in the video clip it clearly looks like "Nalen".

The Dragon CD added a some live concert material (from the same day as the broadcast), with Joe Harris on drums . A Moon CD contained some four tunes from 3/8/59, with LaRocca back on drums. All is dandy. The Swedish Jazz Discography only lists "St. Thomas" from that location (the famous Stockholm club 'Nalen') on March 2nd, but I think there's more to be found on collector's tapes. This is from Nalen in February 1959: http://www.youtube.com/watch?v=sY9h4VAdNpc It's from a 20 minute program that also included "Paul's Pal" och "It don't mean a thing".

Thanks, guys! I'll seek out the shops you've mentioned, and even if they don't have anything of interest (or if they don't even exist anymore) it will be as good a way as any to spend tomorrow afternoon.

Thanks Bob, though if it was Roxy Records, it seems to be gone: http://bazonline.ch/basel/region/Ende-Musik--Das-Roxy-geht-Konkurs/story/14001076

Later this week I'll be on a short business trip to Basel, Switzerland. I'll be having a few free hours on Thursday afternoon and I'm looking for recommendatons for jazz record shops in the city. Would be grateful for any suggestions.

It seems to be a mislisting. TOCJ-50156 is a reissue of a June Christy/Stan Kenton duet album.

In the cases where I've had the chance to compare them, the Kings have had more presence and have generally been closer to the sound of original BN or Liberty pressings than Toshiba editions of the same titles.

In the EU, the Copyright Directive (2006/116/EEC) set the length of the producers' and performers' rights to 50 years (although this is about to be prolonged to 70 years as has been mentioned in other threads). In the US, a combination of several different acts defines the protection. It may seem a bit trivial to post links to Wikipedia, but it is actually a good starting point that often provides links to relevant laws: Public domain in the US The "Bono Act" is outlined here: Bono Act

Yes there are. I'm speaking from a Swedish perspective and I'm no expert in US copyright law, but I believe the basic rules apply to most developed countries, most of which have signed the Rome convention. A sound recording is covered by a couple of different basic rights with different terms: authors' rights (a certain number - usually 50 or 70 - years after the author's - or composer's - death), performers' rights (a given number of years after the performance was published) and producers' rights (as for perfomers, but more complicated, at least regarding the US). This is Wikipedia, not the law, but it does give a hint (see espescially under "phonogram producers"): http://en.wikipedia.org/wiki/Related_rights Again, I'm no copyright attorney, though I am however a lawyer. EDIT to say that I'm way behind David, but I'll leave the post as it is.