Daniel A

No, never (except when the Stockholm University Library was closing at 9 p.m. and they put on some hideous atonal music to scare the students away). 🙂 I was referring to Library Music as a genre, also known as Production Music: https://en.wikipedia.org/wiki/Production_music In this case, it was of a variety that sounded more or less like "elevator music" (which of course has many different sub-types). Paging @Teasing the Korean.

This is off topic, but I don't know where else I could bring up this particular story. In the early 1980s, I went to Lisbon, Portugal, together with my parents. We stayed at - now demolished - Hotel Estoril Sol, a large, then still somewhat luxurious hotel with a thousand rooms, bowling alley and an Olympic size swimming pool. The rooms were equipped with built-in radio units which played pleasant-sounding 1960/70s library-type music. This fascinated me enough to make my parents ask a clerk at the reception desk how this system worked. They brought the hotel manager, who took me to a room full of steaming hot electric equipment, where the hotel radio channel were cabled out to every part of the hotel. Wish I had asked for a tape copy of the music as well.

Yes, vintage Impulse releases look and feel superior to almost anything else from that time. Even the cut-out holes seemed to be razor sharp and looked very slick.

😄

Oh, I fully acknowledge the genres as such (since reading about them, ten minutes ago), they just don't play them at Swedish malls. 😄

Neither of these genres exist in my country. But I love when something unexpected is being played in a mall, so much in the background that it takes a connoisseur to identify the music. Around 1996 I was at a Leclerc Hypermarché in France, and me and my friend (also a Dave Grusin fan) were astonished to hear the theme from "Three Days of the Condor" in speakers 20 meters above our heads.

There is fantastic live material in decent sound with the Hutcherson/Land group. It does not seem likely that Mosaic would combine it with studio material, but it would be nice to see a proper release of that material as well.

For some reason, the physical Birka store, while excellent, did not seem to attract enough customers. It sustained only a couple of years. It was situated only a block from the then location of more well-known Andra Jazz. However, Birka were kind of pioneers in going web-only already at the turn of the millennium. Here is a picture from the Birka store: Its owner, Torbjörn Sörhuus, was born in the same year as famed Andra Jazz owner Harald Hult, 1940, and had a similar history of starting out with a used book store, but also working as a journalist. After retiring from Birka Jazz, he wrote a fantastic book, loaded with rare pictures, covering just about all the record stores in Stockholm through the 20th century and up to modern times.

Not sure why, really, but to me, some of the Blue Note magic is lost just because of those black or white "B" labels. I just prefer to se the rotating blue/white label on the turntable. 🙂 Incredible find! Not as sought after title maybe, but in 1998 I found a mono copy of Hubbard's 'Blue Spirits' for 9 Euro in a jazz record shop (Birka Jazz, which some might remember from their later web-only incarnation).

Bob, when and where did you score all those NY Blue Notes? 😄Seems like you have choice pressings of every 4000 series album worth having. I have a late 60s Liberty pressing of Happenings, but I don't recall any exorbitant noise. I remember when I found it in the 90s. I had just started to discover Hutcherson and this album was unknown to me at that point. I was pleasantly surprised that they did a cover of "Maiden Voyage" and shelled out the 15 Euro, which seemed a lot to a poor student.

Actually, Larry retracted his opinion on July 3: "Finally I'm all aboard the Smulyan train. Accompanied by nine brass and rhythm playing heady Belden originals, Smulyan sounds great here."

This was one of my first "jazz" experiences at age 4-5:

Actually, the original sound is just as ridiculous, slightly diminishing the humour of the "shreds" version. As mentioned above, especially Herbie's playing.

The article is not a review, but a quite long interview with Byrd. However, the article states that the recent Black Byrd album is a "success". In general, Byrd doesn't appear to be that happy. This is maybe the most amusing section: Driving to Dunhills he talks about African music and why tribal music was played at certain times of the day. Then he shifts to a newspaper article he read once that claimed that loud music, like rock, killed plants. “That’s absurd. Do you know that some people talk to their plants? The next thing you'll hear about is loudspeakers in corn fields because corn has ears.”

TTK, I've been following your posts in this thread, and so much that I want to check out is coming up! Never knew about the Kai Olé! album, but now I need to hear it...

Oh, I see... At least everything is in the 20th century domain, then - recording, editing technique and sound carrier.

I suppose that if you are able to remove vocals (or perhaps any instrument as well), you could also put them back at a different level in the mix.

To me, the "lo-res" is definitely enough for recordings from the 1920s. Thanks for the tip!

There's a link to a PDF: 64. Rollins, oral history by Appelbaum. 66. "Music is music,” Sonny said. "There's only good music—and I'm saying good to me—or bad music, bad to me." Rollins, interview by Bendian, 39.

Just not to spread potentially misleading information - it turns out that the trombonist is frequent session man George Vernon.

The basist was Nate "Lloyd" Hygelund, now apparently a resident of Oregon. This is from another message board, eight years ago: "Nate Hygelund is nearly 80 years old and lives in Central Oregon. His memories and experiences playing with many of the greats of the bebop era are incredible. He taught at Berklee and was the resident bassist at the Jazz Workshop in Boston during the 60's." https://rec.music.bluenote.narkive.com/fba8yOuj/nate-hygelund

Excellent track! I would never have guessed it was a Russell tune. I wonder who pulled together the band. Do you know who trombonist "George Bernard" is? I cannot find a trace of him online. He looks as if he might be in his 50s, so somewhat older than most of the other players.

I love the way he presents everybody in the band before they start to play. A trombonist I play with participated in some of Russell's other projects in Sweden at the time, and I seem to recall he has told that the rehearsals were not always smooth.

I was looking for Bernt Rosengren videos, prompted by his recent passing. I happened to find this recording of George Russell and a (mostly) Swedish Big Band, including Rosengren, from 1967. Audio is missing from the last couple of minutes, but there is a link to another video with the missing part in the YouTube description.