Swinging Swede

I have this CD, and there is no This Can't Be Love on it. Actually, according to the Shirley Scott discography, the only time Scott recorded that tune was with Eddie "Lockjaw" Davis on a 1958 King session. Btw, the AMG reviewer can not have paid too much attention. Keep in mind that the tracks were recorded 1958-61, and then read how his review starts: "A slightly odd, transitional release, 1966's Workin' finds organist Shirley Scott moving away from the small-combo format she worked in (most often with husband Stanley Turrentine) during the early '60s into slightly larger arrangements more in keeping with the mid-'60s trend toward groove-based soul-jazz in which she was the primary, and usually only, soloist."

I'm fairly certain those Three Sounds are the only ones. There are some other JRVGs in the 9501-9600 range that have bonus tracks, but those had all come out previously, either on individual CD reissues or on Mosaics. One exception might be Duke Pearson's "Merry Ole Soul" which has one bonus track. It came out in November 2003, about the same time the Mosaic Select came out, so it's possible that the JRVG by a slight margin was the first release of this track, but it is no longer the only one in any case.

Singers killed the band business. That's why. Still can't forgive them for that.

That was the classic live session at Pep's!

I saw the Count Basie Orchestra live in Gothenburg yesterday. The current tenorists are Doug Miller (who replaced Eric Dixon in 1989) and Doug Lawrence (who replaced Kenny Hing in 2003). Both were fine; Lawrence soloed more frequently than Miller. I must say however that the one who stole the show was guest soloist Gunhild Carling. She joined the band for two numbers at the end, one being the ultrafast Jumpin’ at the Woodside, and she showed incredible technique, great jazz feeling, and had that fat type of tone that you mostly associate with pre-bop trombonists. I had heard her name before from trad/swing contexts, but I had no idea she was this good. The band members were clearly impressed. Check her out if you get the chance. Oh, and Butch Miles at the drums was great to see too. But I’m derailing the thread. Back to talk about tenors!

No, they aren't. As Philips (which controls the CD standard) has stated: "Any changes that put a disc outside the CD standard result in a disc that should no longer be described or marketed as a CD." And they don't either, at least not nowadays. In the early days of copy protection, the discs sometimes had the CD logo, and the record labels pretended that the discs were in accordance with the Red Book standard (of course they knew that they were lying). Philips reacted and forbade this: "...We've made sure they would put a very clear warning that you're not buying a compact disc, but something different. We've been warning some labels to begin with, and they've adjusted their behaviour. That means labels would also be barred from using the familiar "compact disc" logo that has been stamped on every CD since Philips and Sony jointly developed the technology in 1978."

Virginia Woolf was released in December 2004, and Respect in April 2005, so Hiroshi should definitely be able to get them for you. for Hiroshi, btw!

How long are the Jamal and Shaw releases? The reason I ask is that the Cactus format that EMI Europe is using has a shorter playing time (about 74 minutes) than CDs (80 minutes). So in the case of the Lee Morgan "Sonic Boom" Connoisseur, to take an example, they had no choice but to release it as a CD (despite all other titles in the same batch being Cactus discs), since it included two original LP albums, and thus was too long for a Cactus disc. XCP discs must have a shorter playing time than CDs too, so that's my guess as to what explains it.

You're talking about the older MediaMax format, right? I would be surprised if holding down the Shift key works with the new XCP discs.

Yup, I posted an article about this a couple of weeks back: Sony/BMG to introduce copy-protected discs in the US? Note what I highlighted in red: "Among the biggest headaches: Secure burning means that iPod users do not have any means of transferring tracks to their device" and "Sony BMG expects that by year's end a substantial number of its U.S. releases will employ either MediaMax or XCP." I wonder whether European Sony/BMG releases also will be XCP discs, or still CDs. In the latter case U.S. buyers may have to buy from Europe, just as Europeans buy EMI releases from the U.S. Will have to check that. Thanks for the warning anyway. From now on one has to be careful about what Sony/BMG releases to buy too.

past/passed Just saw in another thread that someone had past out, and I've seen this error several times before.

Aric??

Well, here is a link to the discography for the Shearing LP set at least. Did it differ from the CD set? The Complete Capitol Live Recordings of George Shearing (#157)

Really?? This album was on the Ventura/Phillips Mosaic. Is this the first time something has appeared on Mosaic twice?

I just ordered the J.J. Johnson. I got so scared by Soulstation's Morgan cover above!

So some days ago there were 100 copies of the O'Day and 700 copies of the Johnson left, and now there are 150 copies of each left. Okay....

Thanks, jazzbo. After posting I did a Google search and it appears that, although some use "y'all guys" jokingly, there are those that really have it in their ideolect or even dialect. One common case seems to be when people from a "you guys" area move to a "y'all" area. They are influenced by the speech of the new area they live in, but the transition is incomplete and they end up saying "y'all guys". There are several references to this phenomenon. But there are also areas where the locals genuinely say "y'all guys". I found it very interesting to read that in parts of North and South Carolina "y'all" is singular(!), and to indicate plural they have come up with forms like "all y'all", "y'all two" and indeed "y'all guys"! So in those parts "y'all" has moved from purely plural to purely singular just as "you" did earlier. Fascinating, isn't it?

My sister was an exchange student in the US (New Mexico), and the daughter in her family consistently said "y'all guys" as second person plural. Was that just an ideolectal peculiarity, or has anyone heard of this usage before?

The Kid Ory set arrived yesterday, only 7 days after I ordered it! And no duties charged either (in which case it would have taken much longer for me to get it too)! Wohoo! I listened to the first session, the French concert, today, and it was what I expected. I actually think Hadlock is overly critical of this concert in his notes; I suppose I just don't hear it the way he does, and to my ears Ory and the guys play with a lot of inspiration and drive here, and the audience obviously loves it. (Hadlock is right about the bass being underrecorded though). What surprised me is that this 1956 European live recording is in stereo. My impression otherwise is that stereo came a lot later to Europe than to the US. One more thing: The original liner notes (not present on the Mosaic set) mention that "One can hear Ory making his own announcements, some in English and occasionally even in his delightful Creole French." One can't hear that on the Mosaic though. Apparently Mosaic doesn't like spoken introductions, since they have deleted them not only from this Ory set, but also from the George Lewis set, the Louis Armstrong set, and also I think from the Elvin Jones set. I wonder why? I had had the George Lewis Concert! album on LP for a long time and it just wasn't the same thing when some of it was gone. By the way, my copy of Ory is number 0802 of 5000. Does that indicate that it has sold badly? It's a shame, if so.

Everything on the Condon Mosaic has come out on Collectables twofers. Nothing from the Buck Clayton though, and I wonder if that may have to do with the plentiful and tricky edits that were on the original LPs? Mosaic released complete takes as they were recorded as far as posssible. ← Re Eddie Condon Could you point me in the right direction. I am aware of 3 two-fors. That takes care of 6 LPs. Sorry, I was taking it straight from memory, since I researched the availability of material on several OOP Mosaic sets some time ago, but I must have confused it with something else, because it’s obviously not true that everything from the Condon Mosaic is available on Collectables twofers. That said, the vast majority of the Condon Mosaic has come out on single CDs. Let’s take a look at it: The following albums have been released on Collectables: Jam Session Coast-To-Coast (half of which isn’t on the Mosaic) Jammin' At Condon's Bixieland Treasury Of Jazz The Roaring Twenties Midnight In Moscow Now as for those you mention: Dixieland Jam was not an original album, but a late 80s compilation that came out on both LP and CD (I have the CD). It included 7 tracks of 12 from The Roaring Twenties, and 7 tracks of 12 from Chicago, My Home Town, plus one alternate take of China Boy. It should also be noted that this compilation included the complete original take of What’s The Use, which had a bad ending, whereas Chicago, My Home Town as well as the Mosaic set used an insert ending. Dixieland Jam is OOP now, but it can be bought on Amazon Marketplace (currently from 25.99$). This made up half an LP originally, the first half being by Louis Armstrong. The Armstrong portion has been out on CD, but from the Condon portion only one track (Bye And Bye) has been out as far as I know (it’s on the Happy Birthday Newport 3-CD set Columbia put out last year). As mentioned above 7 of the 12 tracks were on the 1989 CD Dixieland Jam. An alternate take of The Minor Drag from 1957, plus one four-track session from 1962 are what remains to be released from this album. It must have been a very rare release, by the way. AMG doesn’t list it, and a Google search only points to the Mosaic discography. This album only included one Condon track, Original Dixieland One Step, an outtake from the 1956 ’Treasury Of Jazz’ sessions. So what hasn’t been on CD other than on the Mosaic set, is one outtake from 1956, the live session from 1956 (save one track), an alternate take and an insert ending from 1957, and four tracks plus an alternate from 1962. Right now picking up the OOP Mosaic set would be the only way to get those tracks on CD. However, it's worth keeping in mind that the resurrected Classics label has a Condon series that has reached 1953, and since the 1956 tracks will fall into the public domain in less than 1½ years, we could see them out on Classics fairly soon actually. The 1962 tracks may take longer of course. Once again, sorry for misleading you in the earlier post. Getting older does odd things to one's memory...

Sony BMG tests technology to limit CD burning Published: May 31, 2005, 2:48 PM PDT By Reuters As part of its mounting U.S. rollout of content-enhanced and copy-protected CDs, Sony BMG Music Entertainment is testing technology solutions that bar consumers from making additional copies of burned CD-R discs. Since March, the company has released at least 10 commercial titles--more than 1 million discs in total--featuring technology from U.K. antipiracy specialist First4Internet that allows consumers to make limited copies of protected discs, but blocks users from making copies of the copies. The concept is known as "sterile burning." And in the eyes of Sony BMG executives, the initiative is central to the industry's efforts to curb casual CD burning. "The casual piracy, the schoolyard piracy, is a huge issue for us," says Thomas Hesse, president of global digital business for Sony BMG. "Two-thirds of all piracy comes from ripping and burning CDs, which is why making the CD a secure format is of the utmost importance." Names of specific titles carrying the technology were not disclosed. The effort is not specific to First4Internet. Other Sony BMG partners are expected to begin commercial trials of sterile burning within the next month. To date, most copy protection and other digital rights management (DRM)-based solutions that allow for burning have not included secure burning. Early copy-protected discs as well as all DRM-protected files sold through online retailers like iTunes, Napster and others offer burning of tracks into unprotected WAV files. Those burned CDs can then be ripped back onto a personal computer minus a DRM wrapper and converted into MP3 files. Under the new solution, tracks ripped and burned from a copy-protected disc are copied to a blank CD in Microsoft's Windows Media Audio format. The DRM embedded on the discs bars the burned CD from being copied. "The secure burning solution is the sensible way forward," said First4Internet CEO Mathew Gilliat-Smith. "Most consumers accept that making a copy for personal use is really what they want it for. The industry is keen to make sure that is not abused by making copies for other people that would otherwise go buy a CD." As with other copy-protected discs, albums featuring XCP (extended copy protection) will allow for three copies to be made. However, Sony BMG has said it is not locked into the number of copies. The label is looking to offer consumers a fair-use replication of rights enjoyed on existing CDs. A key concern with copy-protection efforts remains compatibility. It is a sticking point at Sony BMG and other labels as they look to increase the number of copy-protected CDs they push into the market. Among the biggest headaches: Secure burning means that iPod users do not have any means of transferring tracks to their device, because Apple Computer has yet to license its FairPlay DRM for use on copy-protected discs. As for more basic CD player compatibility issues, Gilliat-Smith says the discs are compliant with Sony Philips CD specifications and should therefore play in all conventional CD players. The moves with First4Internet are part of a larger copy-protection push by Sony BMG that also includes SunnComm and its MediaMax technology. To date, SunnComm has been the music giant's primary partner on commercial releases--including Velvet Revolver's "Contraband" and Anthony Hamilton's solo album. In all, more than 5.5 million content-enhanced and protected discs have been shipped featuring SunnComm technology. First4Internet's XCP has been used previously on prerelease CDs only. Sony BMG is the first to commercially deploy XCP. First4Internet's other clients--which include Universal Music Group, Warner Music Group and EMI--are using XCP for prerelease material. Sony BMG expects that by year's end a substantial number of its U.S. releases will employ either MediaMax or XCP. All copy-protected solutions will include such extras as photo galleries, enhanced liner notes and links to other features. Story Copyright © 2005 Reuters Limited. All rights reserved

Here's the cover for the new Cannonball album:

Everything on the Condon Mosaic has come out on Collectables twofers. Nothing from the Buck Clayton though, and I wonder if that may have to do with the plentiful and tricky edits that were on the original LPs? Mosaic released complete takes as they were recorded as far as posssible.