Daniel A

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).

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.