Daniel A

It makes the quieter passages louder relative to the louder passages, i.e. the dynamic range of the music is reduced. Excessive compression quashes the dynamic range. Exactly - which is why compression doesn't make the music actually "louder". Loudness = volume = decibels. The way I understand it, the term 'loudness' does not equal decibels. Loudness is related to how a sound is perceived by the human ear, and compression typically makes a recording sound louder (to humans) when played at the same volume. See Wikipedia: http://en.wikipedia.org/wiki/Loudness

Maybe the fanatics are afraid that the cut-outs most likely are from the end of the pressing run when the stampers were more worn. Seems like a long shot, though.

I hadn't realised the Clare Fischer Select had gone, it's one of my favourites. Still, I'm surprised that it has sold out when some of the other (more popular?) sets are still around. Was it a 5000 copy set? There never was a Clare Fischer Select. You are both probably referring to The Pacific Jazz Piano Trios Select with sessions under the leadership of Russ Freeman, Richard Twardzik, Jimmy Rowles and (indeed) Clare Fischer. Most of Fischer's recordings for PJ were originally released on 2 albums, 3 songs remained unissued; his complete PJ output can be found on the Select. I was a bit careless; it was indeed the "Piano Trios" Select I was referring to. To clarify, perhaps we should say that it's Clare Fischer's trio albums on Pacific Jazz that are on the Mosaic Select. There are also the albums "Extension" and "Manteca" for larger band. I think that set was one of a few which were prematurely discontinued due to some error at the pressing plant; they mistakenly distroyed the masters, or something to that effect.

As well every other post I've seen here on the subject, I've got nothing but praise for Hiroshi. Shipping rates are very reasonable. I ordered 7 CDs in December; the charges were 1580 Yen, 13-14 EUR. There's some interesting stuff in the "999 Yen batch" (posted by Bentsy here). For those who missed the Clare Fischer Mosaic Select (myself included) here's a chance to get his two first Pacific Jazz albums: TOCJ 50134 Fischer,Clare(p)/First Time Out TOCJ 50135 Fischer,Clare(p)/Surging Ahead 'Barefoot Adventure' is a nice one with Bud Shank, Bob Cooper and Carmell Jones: TOCJ 50141 Shank,Bud(as)/Barefoot Adventure This is lightweight, but has splendid woodwind arrangements by Clare Fischer: TOCJ 50111 Shearing,George(p)/Bossa Nova

Yes, indeed! All recordings I've heard with J.J. and Jaspar together are so fine, so I'll have to get this one as well...

Yes, looks good. I'm assuming that none of this Baker/Mulligan/JJ material has appeared before in any of the Proper sets ...... or various Mosaic big box/selects? Just checking. I think these were issued by Muziek Centrum Nederland in 2007-2009. http://www.muziekcentrumnederland.nl/nl/muziek-informatie-centrum/nieuws/artikel/artikel/931/ http://www.muziekcentrumnederland.nl/muziek-informatie-centrum/nieuws/artikel/artikel/3014/ However, they are 18 Euro each if you order from the source, so it may actually be cheaper to get them from Hiroshi.

A tentative Kimberly discography: http://www.bsnpubs.com/pri/kimberly.html

I've not seen NHO, but on an Oscar Peterson Pablo album he was called just "Niels Pedersen".

I'm just curious; does "live in the studio" (=transcription) mean anything else than a studio recording intended for broadcast? Could a recording session when the tunes are not recorded in order (and when there may be false starts and alternate takes and so on) still be "live in the studio", or does the term implicate a "live" recording of a whole set from start to finish?

Just something that came to my mind. I recall that "Chaney" had 3001. Maybe a concept for a thread; "Member numbers you remember..."

"Art Worker" was fake live, with applause dubbed-in by the Moon "engineers". Not uncommon for Europe during these years, it seems to have been a plain studio recording - like a session for an album - made for later broadcast as a "concert without audience". There were sessions like these made in Sweden too, and I think other countries as well. Edit: BTW, I just noticed that this was my 1611:th post here. Wasn't that your member number back at the BNBB, Jim?

Lots of interesting stuff there that haven't been on CD before. And they're all 999 Yen (~9 EUR) apice!

I believe this session was one in a long series recorded for broadcast by ORF during the period 1968-1972, where Kleinschuster's band featured various guests. The sessions for the aforementioned sets featuring Carmell Jones/Joe Henderson/Farmer/Heath/Hampton were from this series as well.

This would also be the right place to post that the tune "A la Nova" is composed by Robert Politzer, according to what I've learned from onetime Organissimo poster Eloe Omoe who got this confirmed somewhere (not on the cover of the Moon album, that is).

I owe Flurin a big thank you for this! Amazingly, everybody involved replied almost instantly, and the mystery was more or less solved within the course of an afternoon. I've been wondering about this tune (and the session) for six years...

Thanks, guys! The composition is not in BMI's database, at least not under the name "Stars". I've sent you a PM, Flurin. I'll let everybody know how everything turns out.

Thanks for the suggestions, Tom. Unfortunately this session is not on any of the Kleinschuster CD sets released by Universal. I actually tried to contact Rockefeller Center some time ago, but it appears he is no longer frequenting these forums.

As mentioned elsewhere I plan to record an album with my band. I would like to do a version of the tune "Stars" - allegedly written by Art Farmer - which only appears on a bootleg Farmer album on the Moon label. Parts of the story regarding this album can be found in these two threads: The problem is that the tune does not appear to have been copyrighted, and I'm not positively certain that it's written by Art Farmer (I don't want to rely on what's printed on the album sleeve, since all the sideman credits are wrong). The session seems to have been one of many that were recorded for Austrian Radio (ORF) in the late 60s, featuring trombonist Erich Kleinschuster's group with various guests. I've spoken with pianist Fritz Pauer who confirms that he was on this particular session, but he can't remember any details. Neither jazz researcher Mike Fitzgerald is able to provide additional information. On suggestion from STIM, the Swedish Performing Rights Society, I wrote to BMI with an enquiry regarding the composition "Stars", since Farmer was contracted to them. However, I did not get a reply. To be able to clear the rights for the composition, I would need to get in contact with someone at ORF, with Erich Kleinschuster or Robert Politzer (the other survivors from the possible personnel), or maybe a person at BMI who administrates the rights for Farmer's other compositions. Org members with even remote connections that could possibly be of any help are welcome to drop me a message or post in this thread. Help of any kind, no matter how slight, is much appreciated.

Anyway, 'Dreamflight' was from a Mercury album - "Jankowski Plays Jankowski". I thought about arranging 'Pink Balloon', too, but I found it was too dependant on the "babe" voices to work as an instrumental. I know there is a certain "camp" vibe even to 'Dreamflight', but I chose it because I think it's a genuinely fine composition. So we're walking a thin line between stuff which has got enough of that happy 60s feeling but also true musical value as well. The McFarland is obviously less kitsch, but even so it's usally very popular with a less jazz-oriented audience. The working title for the album is "Young, Shy & Handsome Plays Elevator Music", and it will contain a not yet fully decided mix of obscurities with one common factor: (unexpected) jazz significance. BTW, thanks for the compliment, Jim!

Best wishes for a happy birthday, Hans! This place would suffer without you!

I was hoping that you might notice this thread, TtK. For the album, my aim is to find compositions that have seldom or never been recorded since the original versions came out. I try to arrange them in a suitable way for the band; however, in the case of "Un Grão..." Francy Boland's arragement for the CBBB is so great so I just scaled it down to septet format.

Answer: The perhaps dubious honour of being the subject of a tribute from me and my band. Both of them made a lot of fine compositions that should be played more often. Here are a couple of captions from a recent live gig at Jazz Club Fasching in Stockholm: Gary McFarland's 'Un Grão De Areia' Horst Jankowski's 'Dreamflight' 'Someday' by George Duke Do You Know the Way to San José I hope that the first two will be on the studio album we're planning to record later this year.

What makes it great to me is that "atmosphere" Mike mentions. The group interplay is fine, and more dynamic than most other efforts from the various Hutcherson/Land bands, and there's not a solo from anyone which is less than very good. Hearing Chick Corea (in what was arguably his "best" period ) in this context is also a big plus.

My thoughts too. Same here - that's probably my favourite album of his. I think Total Eclipse is Hutcherson's best album as well as the best post-Lion Blue Note album from any artist. Sad to hear that Hutcherson is ailing.

The Holdsworth album is far from what most people would expect from a mid 70s CTI album, though perhaps not the best recording of Holdsworth. Has anybody else heard it?