Swinging Swede

This is yet another Disconforme label (Definitive, Jazz Factory etc.). As one almost could have guessed from the excessive use of the word "Complete".

From Ebay auction here.

Well, we know that Cuscuna likes Andrew Hill and since Hill is typical Connoisseur material and several of his albums have not been on CD or only in the OOP Mosaic set, I think a new Hill Connoisseur is a reasonable guess. Compulsion maybe? Maybe another Larry Young? Another Jackie McLean from the mid-60s, like Consequence perhaps? Although there are many new McLean BN reissues, so that might make it less likely. There probably will be something noone thought of also!

We also know that Horace Silver’s United States of Mind trilogy (That Healin’ Feelin’, Total Response & All) probably will be released as a double CD in the next Connoisseur batch. Since the last two Connoisseur batches came out in October (2002 and 2003), I think that is a safe bet this year too.

I should also add that Hawkins is in much stronger form on the 1968 tracks than on Sirius, so it wasn't a straight decline.

So, there isn´t any recorded evidence of Hawkins playing live after 1966? Yes, there is - both live and studio! This very subject came up at the BNBB a few years ago when a member had thought that Sirius was Hawkins's last recording, so I'll simply copy and paste my old post below: Re post-Sirius Hawkins recordings Although Sirius from December 1966 was Hawkins’s last American studio album, it was by no means the last time he was recorded. In June/July 1967 there were a couple of JATP concerts in Los Angeles, from which material was released on a Pablo 3-CD set titled The Greatest Jazz Concert In The World (how’s that for a title?). Hawkins is backed by the Oscar Peterson Trio on two numbers, and also participates in a jam session. In October 1967 Hawkins recorded live in Copenhagen, backed by the Oscar Peterson Trio. Five tracks (including the version of Stuffy mentioned above) were released on a Moon CD, which also had a set by Don Byas backed by the Teddy Wilson Trio from the same year. This Moon CD actually has pretty decent sound. The title of it is Coleman Hawkins Vs. Oscar Peterson & Don Byas Vs. Teddy Wilson. In February 1968 Hawkins was once again in Copenhagen and recorded two tracks in a Danish Radio studio with the Kenny Drew Trio. I have these on a Storyville CD, titled Masters Of Jazz, Vol. 12, which seems to be still in print (it’s listed at CDNow for example). This CD also has the Essen tracks from 1960, and a stray track from 1954, that first was released on a compilation. The same two tracks plus four more tracks from Copenhagen 1968, where Hawk fronts a group that includes organist Lou Bennett (one of the very few times Hawk recorded with an organ) have, according to Tom Lord, been out on a CD on the Italian Tempo di Jazz label. I’ve never seen this or any other Tempo di Jazz CD. These would be the last released Hawkins recordings, but since he continued to perform until shortly before his death in May 1969, who knows what tapes may lie around somewhere? There is also a Pablo 2-CD set titled J.A.T.P. In London 1969 that purports to have Hawk in surprisingly good form just two months before his death. It has however been established that this concert is from 1966, and thus predates Sirius. Another example of Fantasy not doing the necessary research before putting out Granz tapes.

True. That’s because it isn’t a copy protection per se; it’s just a number of errors inserted in the discs, with the intention to take advantage of the traditional difference that has existed between computer drives and regular CD players in the way they handle error correction. Thus the Cactus Data Shield scheme has errors inserted in a way that will render the disc unplayable in most computer drives, and playable in most regular CD players. It never was 100 % in either case, due to the diversity of CD player models out there. This difference is however quickly eroding now, as manufacturers of CD-ROM drives are moving forward technically as well, and are adjusting the design of the drives so that they are able to play copy-protected discs too. It’s only a natural competitive move to do this, since a drive that can play more types of discs will be more attractive to the consumer. So especially if you have a new CD drive, it is not so surprising if it can handle Cactus Data Shield discs. So what are the record companies going to do about this development? One attempt is to step up the error level even further (and there are signs that they already have done this), to try to get ahead of the CD drive designers again, but this will have the drawback of making it unplayable in even more regular CD players as well. And the reports of CD players that have been damaged temporarily or permanently after a Cactus disc has been inserted (yes, there are many reports of that, especially for older CD players) will only increase. I wonder if this might be a reason why EMI now is considering dropping the Cactus scheme, as your source says. I also wonder if a possible substitute then might be the Darknoise technology briefly discussed in this thread: Copy Protection. That one might be trickier if it actually works the way it is described in the CNET article. I absolutely agree. But if the record company executives think it makes a difference, then it makes no sense having copy protection only in parts of the world, and that’s why they likely have some sort of plans for the US market.

OK, it ain’t so! At least not to my knowledge… But who knows what EMI is planning right now? I’ve read that the only reason that EMI (and other record companies) so far have refrained from introducing copy protection in the US is that they are afraid of being sued by consumer groups. I’m sure they would like to do something there too. After all, what good is copy protection in parts of the world, if the real deal can be ordered from elsewhere? In these Internet times buying something from another continent only requires a few mouse clicks. The filesharing networks are global too, so if people in one country can rip from real CDs, the files will soon be available anywhere anyway.

A few days ago I sent an e-mail to Blue Note asking about the odd situation where I have to buy Blue Note releases from the US if I want a CD instead of the copy-protected format they now are released on in Europe. Yesterday I got a reply that they were aware of this discrepancy, but that it only was temporary, and that EMI releases soon will be copy-protected in the US too! It will however not feature the Cactus Data Shield technology that is used by EMI in Europe, but a different one. After buying a new disc, the owner will have to download an individual code, which will lock the disc to the specific owner and his hardware configuration. This is among other things intended to prevent sales of used discs, something that cuts deeply into the pockets of record companies, since every sale of a used disc is a missed sale of a new disc in their eyes. A burned copy will also be useless with this technology of course. The e-mail then goes on to say that this technology will be introduced on EMI discs this summer, so I suppose that the June or July RVG batch will contain the first Blue Notes to feature it. The e-mail also mentions that licensed EMI recordings, like Mosaic sets, will be required to feature this technology as well. No info yet on how it affects the sound on regular CD players, or about the playability on car stereos and other devices.

It has been established that the 'JATP 1969' set actually is from 1966.

According to Jazzmatazz Water is reissuing two more Blue Notes on June 29: Duke Pearson’s The Phantom, which is in the Mosaic Select and also was on an early Japanese CD, and Reuben Wilson’s A Groovy Situation, which as far as I know hasn’t been on CD at all. Hopefully we can now expect more Blue Notes from the late 60s-early 70s to be licensed to Water. There are many Blue Note albums from those years that haven’t been on CD at all, unlike those up to the mid-60s, which all have been on CD at least in Japan. By the way, on the same day that these come out there is also a new RVG batch, the week before there is a new LPR batch, and the day after the Tal Farlow Mosaic comes out, so I think we can suspect that some wallets will take a beating in late June!

Ready for Freddie was recorded on August 21, 1961, and Goin’ West on November 30, 1962. If the RVGs say otherwise, it’s Blue Note Quality Control at work again. The same thing happened with the RVGs of Midnight Blue and The Real McCoy, which got the same 1967 recording date, although the former was recorded over 4 years earlier.

I really would like to hear the Hines band with Bird & Diz too! Something that comes to mind that at least did exist is the Duke Ellington session from 1925 with Sidney Bechet. It remains unissued.

Art Tatum, Oscar Peterson and Phineas Newborn Jr.

Yes, I watched the A group when I could. Saw Svidler resign in a drawn ending against Kramnik! Despite this gift Kramnik only managed a 50 % score, after losing three games. He will drop to third place on the next Elo list behind Anand unless he makes a strong result in Linares. I haven’t played a tournament in several years (only a few team matches). But maybe your successes will inspire me to make a comeback! Although I feel that I would have to work on my opening repertoire a lot first, and it's difficult for me to find the time for that nowadays. One day maybe…

Congratulations! Korchnoi didn't reach his prime until he was in his 40s when he became No 2 in the world and remained so for a decade. He played his first WC match (of two) at 47! So it is possible to improve at a higher age. At 72 he is still strong. The rule seems to be younger and younger players though. Wijk aan Zee last month saw the birth of a new Scandinavian (OK, Norwegian ) superstar in 13-year-old Magnus Carlsen who scored his first GM norm with a large margin and a 2702 performance rating! His play was very impressive too. He may be a future WC challenger. It will be very interesting to follow his career. Btw, in a couple of days Linares, called the Wimbledon of chess, with Kasparov and Kramnik among others starts. Hopefully we will see some good chess there!

I tested the basic Fantasy URL part of the link above and the page still exists, although Fantasy doesn’t link to it on the New Releases page any longer. I then did a Google search for pages linking to the LOAJ page, and there is one on Fantasy’s site that still does that, namely the History page. Near the end of it there is still a link to the LOAJ series. There are some interesting search possibilities at disposal on the web!

That’s what the Internet Archive is for! Here is a snapshot of Fantasy’s New Releases page from June 2003: New Releases At the end of it is the now removed link to the Legends of Acid Jazz series: Legends of Acid Jazz As Stefan mentioned, there are later (and earlier) reissues of material in the same vein without the LOAJ denomination.

There is a used copy at amazon.com right now. Nice CD that includes two complete LPs.

Even that may not be possible much longer. http://news.com.com/2100-1027_3-5153609.html?tag=fd_nbs_ent More altered sound in other words.

Two more batches have now been announced: 6/8/04 Art Blakey - 'S Make It - Reissue - Verve Reissues Candido Camero - Candido Featuring Al Cohn - Reissue - GRP Records Gene Krupa - Plays Gerry Mulligan Arrangements - Reissue - Verve Reissues Machito - Vacation At The Concord - Reissue - GRP Records Max Roach - Jazz In 3/4 Time - Reissue - Verve Reissues 6/22/04 Johnny Griffin - JG (LPR) - Reissue - GRP Records Illinois Jacquet - Desert Winds (LPR) - Reissue - GRP Records Roland Kirk - Live In Copenhagen (LPR) - Reissue - Verve Records James Moody - James Moody (LPR) - Reissue - GRP Records Sonny Stitt - Personal Appearance (LPR) - Reissue - Verve Reissues Several of these titles have been available in Japan (and still are). Considering the wealth of albums in the Verve vaults that haven’t made it to CD, I think it would be a better strategy for Verve to concentrate on albums not previously on CD. Not that I want to complain too much. At least Verve’s releases aren’t copy protected. P.S. A new Diana Krall is on the way too. Mark April 27 in your calendars!

Thanks, jazzbo. So maybe one could say that Verve in reality has brought back the VBR series - but without bonus cuts.

yes Tjazz, EMI protects all the records against selling... at least selling them to me Funny but true! They haven't managed to sell any to me either...

The TOCJ of Ronnie Foster's Cheshire Cat went for $123.50 recently! http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...5&category=1056

Album titles are often a confusing thing on early Blue Note LPs. Lee Morgan’s first BN LP said Lee Morgan Indeed! on the front cover, and Presenting Lee Morgan on the back cover (no ”Vol. 1”). His second BN LP said just Lee Morgan on the front and Lee Morgan Sextet on the back (no ”Vol. 2”). His third said Lee Morgan Vol. 3 on the front, and just Lee Morgan on the back! By the way, his last Blue Note album also was titled only Lee Morgan originally.