Daniel A

Yes, it did! But yesterday night was the greatest in a long, long time! Sometimes life takes unexpected twists, and this year it has taken me back to Stockholm again in less than happy circumstances. But it has allowed me to make an old dream a reality; I've managed to put together a jazz group with some very skilled musicians. Three horns + rhythm, with a kind of big band-ish approach (extensive arrangements - allthough with generous solo space - which makes the most of the horn frontline). So yesterday was the first time we tried out a few of my arrangements. And it went very well! It such a joy when something turns out to sound better than you thought! I feel confident that the happy memories of yesterday will last until our next rehearsal in two weeks. But as I'm no fast writer, I'll have to invest quite a few nights in writing some more arrangements... It will be fun, though! Thanks once again for all the congrats!

"Peace Maker" feels a bit more straight ahead / less commercial than "San Fransisco". I return to "Peace Maker" a lot more often. It's closer in feel to the earlier Hutch/Land collaborations, but perhaps with a somewhat more conservative choice of compositions. Sample plays above par.

Happy birthday, brownie! I hope you'll have time to spin a few of those rare LPs this year!

Thanks, folks! My day didn't start out too well; my rusty old Mercedes subject to a parking ticket as well as a complete petrol theft. I wouldn't even have noticed it until the weekend if it were not for an unfortunate incident last night - after moving my stereo amp a speaker wire shortcut blew the left-channel fuse (as a consequence: only mono LPs the rest of the night), and I had to pass by an electronics firm to get a new one this morning... Anyway, after that the day could only get better! BTW, don't hesitate to serve yourselves a big slice of this delicious birthday cake!

...and while we're at it, has anyone heard this: Wynton Kelly Trio Live At The Left Bank Jazz Society, Baltimore 1968 Wynton Kelly (p), George Coleman (ts), Ron McClure (b), Jimmy Cobb (d) CD. 1 1. Introduction-Announcements 0:29 2. Unit 7 (Jones) 25:01 3. Surrey With The Fringe On Top (Rodgers-Hammerstein) 20:14 4. On The Trail (Grofé) 15:52 CD. 2 1. Mr. P.C. (Coltrane) 15:29 2. On A Clear Day (Lane-Lerner) 16:56 3. Here's That Rainy Day (Van Heusen-Burke) 11:32 4. Theme (Davis) 2:03 Recorded Live at the Left Bank Jazz Society, September 22, 1968 There's not too much on record of George Coleman from this (or any) period, so I've always been tempted to get this. How does it compare to the Kelly/Joe Henderson live date from the same year?

The €6.37/$7.57 Fresh Sound sale never ends, does it...? Anyway, I was hoping for opinions regarding a bunch of albums: Arnold Ross Just You & He & Me (1975-1976) Arnold Ross (p), Harry Babasin (b), Roy Harte (d) Jack Millman Four More (1956) Jack Millman (tp), Lin Halliday (ts), Don Friedman (p), Clarence Jones (b), Ray Teidel (d), Don Paterson (b) Walter Bishop Jr. Summertime (1963) Walter Bishop Jr. (p), Butch Warren (b), Jimmy Cobb (d) Bob Florence Name Band: 1959 Bob Florence (p), Johnny Audino (tp), Tony Terran (tp), Irv Bush (tp), Juiles Chaikin (tp), Bob Edmundson (tb), Bobby Pring (tb), Don Nelligan (tb), Herbie Harper (tb), Herb Geller (as), Bernie Fleischer (as), Bob Hardaway (ts) and many more (sic from Fresh Sound website) Toshiko Akiyoshi Toshiko Mariano Quartet Live At Birdland (1960) Toshiko Akiyoshi Mariano (p), Charlie Mariano (as), Gene Cherico (b), Eddie Marshall (d) Bob Cooper Milano Blues (1957) Bob Cooper (ts, oboe), Hans Hammerschmid (p), Rudolf Hansen (b), Victor Plasil (d), Pim Jacobs (p), Ruud Jacobs (b), Wessel Ilcecken (d) The albums currently at sale are listed HERE.

Drummer Kim Thompson with flautist Anne Drummond (also featured on the Kenny Barron album King Ubu posted above) and bassist Miriam Sullivan: Actually I was just listening to "Images" when I happened to come across this thread! BTW, does anyone happen to know more about where one could catch Anne Drummond live...?

"Take Aim" is perhaps not anybody's finest moment, and I remember the sound of the BN LP release as boxy. Perhaps the remastering has improved it somewhat.

Art Worker is possibly not an Art Farmer date, and does most certainly not feature the musicians listed on the Moon cover. But it's an enjoyable album, nevertheless, if a bit sketchy (most probably made up from at least two different sessions). http://www.organissimo.org/forum/index.php?showtopic=8059 http://www.organissimo.org/forum/index.php?showtopic=15676 Not meant to discredit Saint Vitus, just wanted to point out that the given personnel is not undisputed. The mystery which surrounds this album just makes it more interesting in my opinion...

I just noted that, too. I'll post here if I find some links that work.

Jonas' records are distributed though his own label, Moserobie. On the Moserobie website there are sound clips available from most of the albums (click on "catalog"): http://www.moserobie.com/ Jonas once stated (though I'm not sure if it's still valid) that his albums would never be reissued once the original run was sold out. It's possible that he has revised this opinion after getting more attention outside Sweden. I agree that he's quite an impressive player. He's very self-assured, on and off stage, which I think shines through in his playing. I've heard some really terrific playing from him at live gigs here in Stockholm. Only sometimes I think there could be just a tiny bit more space in his soloing. It seems I'm rather alone in this opinion, though. I played with him once when he was 16 years old (the rest of the band members were a few years older). He already outclassed everyone else. What we played? Well, some Peter Herbolzheimer tunes, and the theme from "Three Days of the Condor"...

You're right of course, Claude. But would just a disclaimer on an English-language website keep you out of trouble if the owner of the US rights is eager enough? BTW, wouldn't you need permission from the composer of the tune as well (or his/her publisher)? That protection stretches 70 years beyond the death of the composer.

Without having looked deeper into this, my instictive reaction is that it would be illegal if the stream is readily downloadble for a website visitor from the US. (except if the particular tune is in the public domain in the US too)

The tape box is not original, otherwise it would have looked more something like this: However, the tape itself could still be from 1957, of course. The reel itself looks older than the tape box.

Re: the Kelly/Henderson live recording - I find it pretty amazing in spots, but I feel that Kelly and Henderson does not always mesh with eachother in terms of style. Other opinions are of course more than welcome. Regarding the label Lone Hill Jazz - don't they have a reputation of not always clearing music rights prior to releasing stuff, no? 'Four' and 'Straight, No Chaser' still appear to be available from Verve.

My experience in the "pro arena" says many times 1x burns are too hot and deliver many digital errors. The preferred "balanced" burn is 4x. Anything higher is problematical. ← I read about this issue a few years back, when I was still using an old 4x burner. It appeared from tests (just don't ask me who made the tests) that burning today's high-speed optimized CDRs too slow increased the nuber of errors just because the laser became too heavy, as Chuck says, and caused some sort of "bleeding". If I remember correctly this problem was measurable also at 2x, 4x and perhaps even 8x when 52x CDRs were used.

Is the time limit for this series still effective? The issues from the first batch supposedly would have disappeared in May 2005, but they still appear at the Verve website. I'm looking at a copy of Oscar Peterson's "Soul Español" right now, and it proudly indicates on the OBI (is it still called OBI if it's an American reissue, BTW?) that it will only be available until May 2005.

Angel Records is another EMI subsidiary, which happens to have a couple of new releases on September 13th. Probably a mix-up at CDUniverse.

The gas price in the US is still way lower than in most of the industrialized western world. Taken into account the long-term damage on the environment it probably should be a lot higher, as to prevent the use of excessively thirsty cars. I'm not even sure the price here in Sweden (similar to the major part of Europe, and about 2.5 times the US price) is enough. We're facing pretty serious climate issues during the next decades, and not even bio fuel is a permanent solution to that. In the end, we (the whole world) could expect dramatical changes which will affect the entire living standard more than a higher gas price would right now. I know that in large parts of America you're much more dependent on a car to get around, compared to some European urban areas. What I'm saying is that the majority of car engines is just unnecessarily big (both in Europe, and even more so in the US), and still higher gas prices would encourage the use of more economical vehicles. There is simply no rational need for a V8, or even a 6-cylindre engine in a car or a minivan. But I'd dare to say that the average European car cosumes less fuel than the average US car. Partly this is because we have a tradition of building small to medium sized cars, rather than big ones. But I think even if you're comparing cars of corresponding size the European (or Japanese for that matter) one will have a smaller engine. To have a V8 motor in a family car is vary rare here (except for the recent, unfortunate increase of SUV:s), while it's still not uncommon in the US, from what I've heard (please correct me if I'm wrong). I think the higher gas price in Europe is partly to thank for this, but there is still so much to be done. For the last decades the typical fuel consumption of a car has not decreased much at all, while top speed has doubled and acceleration become twice as fast. And the average highway speed limits are still just getting lower! This is an unnecessary, and very unfortunate development in my view.

Thanks, Claude! I did try to search for a thread about the album - not too well it seems! I'll delete this thread lest someone else has a different opinion.

Anyone got the latest Shorter album? I would be interested to hear what you think. I saw this group live a few years ago, truly my greatest live jazz experience ever! I'll probably get this anyway, but some positive comments here will perhaps make me go for it sooner rather than later. 'Beyond the Sound Barrier', released July 2005

It appears as if the head is dislocated from the body. Looks kind of dangerous to me. But as long as it all serves its purpose you couldn't go wrong with it, I guess.

It's not that different from the other of Hutcherson's albums with Hancock, but all the same: it's a very good and listenable album. If there's a difference, it's that the tunes in general are perhaps a bit mellower/more melodical, or perhaps better put; less abstract, than on the typical Hutcherson album of the time. But they are not lightweight in any regard. Together with 'Total Eclipse' I consider this album as the most consistent of Hutcherson's Blue Notes. If you're not too fond of Hutcherson you'll probably want to spend your money on something else. But I think you wouldn't regret trading in one or two of your least favorite Hutchersons for 'Oblique'.

Birthday wishes to Lon, the true gentleman of the Internet jazz community!