Daniel A

It depends on the quality setting for playback, but Spotify requests lossless files from labels. But if you don care (e.g. PD labels) those files could of course be decoded MP3s. https://artists.spotify.com/help/article/audio-file-formats

Just a speculation - in the case of Flamenco and Blue in Green, maybe Miles felt that Bill Evans' playing was so important to the overall character of these tunes that he didn't want to recreate them with another pianist.

Work for what? Back to the topic of HiFi, expectation bias might of course make someone perceive something to sound better. Most of us want to feel good; from enjoying music, enjoying good sound to enjoying life. If you're a "scientific" type of person, you might want to go with objective measurements. Whatever is being "proven" to be the best makes you feel good. Or you might be the type that trusts your own ears over anything else. Then, there is always the possibility that expectation bias plays a role. But still, whatever sounds best to you *will* be the best for you. Then, there could be yet another type, the one that trusts authorities more than either their own ears or scientific measurements. If Michael Fremer says it's the best, then *that* will be the best for that person. In reality, it is of course much more complex. What makes me feel good when playing music at home is a mix of good sound, slick design, brand names that I like and a price range that I can afford. The bottom line is that the only way to have a meaningful discussion with others of what is the "best" - if one wants the discussion to reach any form of conclusion - is to take the objective, "scientific" approach. Otherwise it's more like talking about which authors or books you like. I can enjoy both types of discussion.

Can't fully subscribe to this rule; Hubert Laws' 'Morning Star' is fantastic, despite Bob James. I think having Billy Cobham on drums actually helped.

I believe the exact same thing as you. But you *could* argue that the same logic applies; some people claim that the improvement of their HiFi setup is huge. The difference being, though, that it's not possible to do a blind test for chiropractic care. There is a story which is a bit sad and amusing at the same time. Some people claim that light therapy helps them to feel better (cures depressions, etcetera). And through our public care system, this type of therapy was offered in many areas. However, as the public care system is obliged to offer only scientifically validated care, they had to cease offering therapy, despite seemingly good results, as it was simply impossible to do a study with a control group that was offered "placebo" light therapy, and so the results could not be scientifically validated. They even tried to make participants in studies to believe that it was all about sound therapy, and let people participate in fake "sound sessions". But rumours quickly spread that it was in fact light therapy that was being evaluated, and the control group could not be tricked any more.

Anything particular (even trivial details) to share? It's always thrilling to imagine how things were at the scene back then.

Not that it means anything at all, but Peterson, Buckner, Shearing, Garland and Gruntz all recorded for MPS at roughly the same time.

I never believed something like this would ever happen! I'm sorry I can't be of any help.

I don't let the "success" of some artists/performers get in the way of enjoying what they do for what it is. So I'm not judging Oscar Peterson differently than someone like Kenny Dorham on a bad day. Peterson is not my favorite pianist, but he was part of my journey into jazz and there are a couple of things I listen to from time to time. 'Motions and Emotions' for instance.

I still think Milt's version is better. 🙂 And I wonder who came up with the concept, as there's a similar version by Freddie Hubbard for CTI, recorded half a year earlier (issued on 'Polar AC'), which was arranged by Bob James. But there's so much to enjoy on CTI overall. Where else would you for example hear Paul Desmond in the 60s with the rhythm section of Airto Moreira, Ron Carter and Herbie Hancock (on the album 'Summertime')?

I think you'll get misleading results if you compare albums by the same artist CTI vs non-CTI. The CTI catalog is a body of work on its own and quite an achievement.

I have different view. CTI was to me more distinctive in terms of concept and sound than Impulse, which Taylor left soon after the launch anyway. And while I don't necessarily like everything on that label there is no shortage of high quality playing and productions. An underestimated sequence is the albums from the period when CTI was an A&M subsidiary. Taylor himself might have felt crippled by the influence of Alpert, but what came out was consistent and almost a genre of its own.

I don't own Heath's book and can only see a couple of pages in Google's cache, but it seems to be Mtume telling the story: "I was with Organization US in L.A. then, and I gave Swahili names to some of the cats. They came down to the organization meetings and heard lectures by Karenga. I started with Herbie Hancock, who I named Mwandishi. Billy Hart took the name Jabali, and Buster Williams, Mchezaji. Don Cherry got a name too, and so did Joe Henderson, Keytu. Most importantly, the Swahili names had to do with the whole cultural identity changes that were happening."

In Herbie Hancock's autobiography, he says Mtume came up with names for everybody, but he doesn't say what Joe's was. Edit: by googling the other's names I found a reference: "Keytu", in Jimmy Heath's autobiography.

The Prélude:

Everything here is top-level Ravel. It has one of the best versions of the orchestral Tombeau de Couperin. There is one version with Abbado which I think is even more engaging, but the recording quality and the playing of the orchestra here is really good. Have you heard the piano version of Tombeau with Jean-Yves Thibaudet?

I checked the info on Discogs (don't have my CD sets at hand) and at a quick glance, it seems that the new material is the sessions with Gojkovic and Tolliver. As mentioned, there is also some material from the CD sets not replicated here. Somewhat irritatingly, the new material is spread across different LP sets.

Is there an overlap with the two previously released double CD sets?

Unedited clip here:

I am a bit uncertain whether 1961 is the correct year for the Brew Moore Steeplechase album. 1962 would seem more probable, but maybe there is evidence? I didn't think Niels-Henning played on TV as early as 1961.

The "problem" with the Sweet Honey Bee master tape is that it is lost.

Yes, I believe the 1963 date is correct. Fredriksson was sounding a bit "edgier" already in 1965. Link to previous thread:

Warming Up is on Spotify. The cover says "Vanguard Digital Vault". The copyright note says "(c) (p) 2006 Vanguard Records, a Welk Music Group Company".