Daniel A

Message from Hiroshi Tanno: Unfortunately,the releases of following CDs have been postponed and the renewed release date has not been announced yet, sorry. WPCR 25076(New) McGovern,Patty(vo)/Wednesday's Child* 2310 WPCR 25077(New) Gullin,Lars(bs)/Baritone Sax* 2310 WPCR 25078(New) Merrill,Helen(vo)/American Country Songs* 2310 WPCR 25079(New) Williams,Mary Lou(p) & Barbara Carroll(p)/Ladies Of Jazz* 2310 WPCR 25080(New) Brookmeyer,Bob(tb)/Portrait Of The Artist* 2310 WPCR 25081(New) Hampton,Slide(tb)/Something Sanctified* 2310 WPCR 25082(New) Redd,Vi(as)/Lady Soul* 2310 WPCR 25083(New) Jones,Philly Joe(ds)/Philly Joe's Beat* 2310 WPCR 25084(New) V.A./Jazz Piano Ionternational* 2310 WPCR 25085(New) Giuffre,Jimmy(cl)/Travelin Light* 2310 WPCR 25086(New) Pike,Dave(vib)/Jazz For The Jet Set* 2310 WPCR 25087(New) Carroll,Diahann(vo)/Fun Life* 2310 WPCR 25088(New) Mance,Junior(p)/Harlem Lullaby* 2310 WPCR 25089(New) Darin,Bobby(vo)/That's All* 2310 WPCR 25090(New) Russo,Bill(tb)/World Of Alcina* 2310 WPCR 25091(New) Lookofsky,Harry(violin)/Stringsville* 2310 WPCR 25092(New) Crawford,Hank(as)/More Soul* 2310 WPCR 25093(New) Ross,Ronnie(bs) & Allan Ganley(ts)/Jazz Makers* 2310 WPCR 25094(New) Castro,Joe(p)/Groove Funk Soul* 2310 WPCR 25095(New) Jazz Modes/Most Happy Fella* 2310

On the other hand, Claude posted that link of yours on September 16th already.

I've been trying to find the thread with the complete listing of all batches in the Connoisseur series for half an hour, but I just can't seem to find it. Anyone has it bookmarked?

Well, when hearing "late" Gillespie (end of the 60s and onwards) I can't get out of my mind what he once sounded like. His tone got kind of weaker somewhere around then. For sure, there's some hilarious 70s live stuff on variuos bootleg labels, but the last Gillespie album I tend to enjoy was the one scored by J.J. Johnson (early 60s). Maybe it's my loss.

Well we did at least get the opportunity to voice some general opinions on Mike Longo... You must excuse me, I did perhaps not read your initial post too carefully. What's more, for some reason I thought this thread was about the Groove Merchant reissues... Will try to check out the Mainstream album anyway.

I don't own the Mainstream one, heard it at a friend's years ago. The only track I can remember was a bossa which had a nice flute solo from Moody. Will try to check it out if you're interested (and if you feel you can trust me once more... )

Just spinning 'Funkia' now, and I still stand by my "cocktail" notion. BTW, 3 out of 8 tracks have Rhodes, nicely recorded if nothing else.

It was a couple of years since I heard them. Yes, the one with Moody is better. The trio albums are mostly acoustical piano from what I can remember, and I can't get away from the feel of "cocktail"; simple licks, block chords, not very exciting rhythmically. I guess I don't find Longo's playing very interesting. Nothing against electrical piano (I love to play the Fender Rhodes myself), and usually I'm quite fond of the sound of Rhodes+acoustic bass.

Jacki McLean 'Capuchin Swing' (BN/Toshiba). I love the passage when the form breaks down during the piano solo of "Francisco"!

Two weeks ago I went to see Brad Mehldau (w/ Grenadier and Ballard) here in Stockholm. Haven't followed his albums from the last couple of years (have got a few "Art of the Trio"'s) so I was not sure what to expect. Initially I was underwhelmed - I thought his solos took too long to develop, and there were some tendencies to go for effect. But then there were a couple of astonishingly beautiful passages, and some technically unbelievable two-handed (though not octave) playing. I guess he has his style down, and that will be enough for many. Not sure I'll need another album of his, but I'm not sure I won't go and see him the next time he's in town. On the first tunes I had the feeling Jeff Ballard didn't quite fit with the group, but it got less noticeable as the show went on.

The Mike Longos have cocktail piano over some nice Mickey Roker backbeats. They're fun the first time, but not convincing in the end.

Yep, it now says 2.3.3 at the bottom of every page.

We're adviced to check back soon for the current tour dates of Hank Mobley... http://www.bluenote.com/ArtistTours.aspx?ArtistId=904922

In the Euro NCAP crash tests the Smart Car outperformed several other vehicels in the supermini category, for example Chevrolet Kalos and Matiz.

Well, that's great! Just last night I discovered that they had some titles in stock which sell for twice as much on Amazon marketplace.

Where did you learn this? Their site still says: http://www.concordmusicgroup.com/faq.html

Yes, that is what I'm thinking as well. There are many kinds of businesses that can't be run downtown in a big city these days. I'm not saying that $100 a night should be enough for a musician though. But: I suppose you can't. If there's too many, some have to stop. And if people can't hear the difference between real and fake musicians, those asking for less money will get the gigs.

Thanks, Brandon! Nice to see you around, too!

Maybe we should not expect serious music to be made any more in areas which are so expensive. Stockholm is very small in comparsion, but in the suburbs there are more and more places with live music popping up.

I can see that. Still, what happened to me recently was that Caiman suddenly listed an item (on Amazon Marketplace UK as it were) which had previously not been available. Suddenly Caiman indicated it as "in stock" (which of course it wasn't, as they have no stock). So how do they suddenly decide that they will be able to get an item? In the end, it costed me a dollar because of the varying exchange rates so it was no big deal, but still...

I'd say Caiman is violating Amazon Marketplace Participation Agreement by not having the items in stock. But that goes for a lot of other sellers as well. (italics/bold by me) http://www.amazon.com/gp/help/customer/dis...;nodeId=1161302

As posted elsewhere on the forum I've had the same experience as Ubu.

Got this one today: Lee Morgan 'The Gigolo' (orig. stereo Liberty). The playing is fine, but the recording only average (weak bass, messy cymbals).

No, because:

I agree with everything said in previous posts. There are some artists who are totally dependent on the media industry marketing - those (IMO) without quality. To a large extent a new (yeah, I know Britney is finished, at least for the moment, but I'll take her as an example anyway) Britney album is a large-scale production rather than "Britney doing nice songs with sympathetic musicians". Almost everyone in the production - musicians, Britney herself (remember her voice is "fattened" with overdubs from various professional singers), even songwriters - is replaceable, except the producer, who in the end is an extension of the record company. I realize there are a lot of people who like the result, and so want the "product" - a product no small independent label would give them. But for "quality artists", I wonder if the marketing apparatus is crucial. I know that myself and the other members of this forum are not entirely representative of jazz "consumers" of today, but looking back at recent purchases of music of (to me) previously unknown artists, all of them have been upon recommendations on the internet. People will want music, and they will not stop searching out new stuff just because there is no Borders around any more.