Daniel A

Yes, it is. But Harald Hult of Andra Jazz taught me this, pre-internet. 🙂

I thought they were green/blue (for stereo releases) up to ~1969, and then green/red (from Hubert Laws "Laws Cause" and onwards), excepting Japanese reissues which often used original label layout.

Sun Song on vinyl has run out. But you can get in on quarter track reel-to-reel for $150. (Half track is $475)

In any case, new entries should only be submitted to Discogs with a copy in hand. That being said, I know that adherence to this rule is deficient.

This is from one of his first recording sessions at age 21, and I think his playing is incredible.

I understand the difference between the "majors" (Sony, Universal et al.) and Spotify themselves doing it, but of course this is also what the old style labels do; purchase music and then promote it on the streaming platforms by purchasing visibility in various playlists. I have an office job for a living, but have always been playing jazz on the side, most often with no profit whatsoever. By coincidence, I happened to get a gig producing "background café jazz" music for a major label. I cannot disclose any details but I think the deal is fair. I can indeed confirm that mass produced similar music is proposed as a template for yet more of the same, but I want to stress that we try to make meaningful music and that we have a lot of fun doing it. And we have never used a first take of any song. I agree with the opinion expressed in the excellent Liz Pelly article that this type of music will most likely soon be created by AI and we're just doing this while we can (which might not be for too long).

Seems like it's available for download from Qobuz.

Leonard Feather also wrote this on a Paul Chambers album: "I would call Chambers a gas, except that it is depressing to think about gas chambers"...

I have nothing against Truffaz, but why is the copy always so cliché? 🙂 I asked Microsoft Copilot "Could you please rewrite the following copy so that it becomes more hyperbolic and over-the-top?" The response: Absolutely, let's dial up the excitement to eleven! "Prepare yourself for an unparalleled auditory adventure as the legendary French trumpeter Erik Truffaz makes a triumphant return to Blue Note, bringing his extraordinary genius to the music of cinema's golden age! In this breathtaking album, Truffaz performs electrifying and spellbinding reinterpretations of iconic themes from cinematic masterpieces like La Strada, L’Ascenseur Pour L’Echafaud, River of No Return, Le Casse, and more. Each track is an unforgettable, soul-stirring journey that will leave you in awe. Don't just listen – immerse yourself in a musical odyssey that only Erik Truffaz can deliver!"

I agree with this. I believe that longtime members wouldn't be less willing to contribute even if it's not mandatory, and this forum would benefit from new blood as well. Unfortunately, it's probably inevitable that the number of active posters will continue to decrease until the forum is no longer sustainable, but if we'd try to delay it as much as possible both money *and* new members are key components.

It's also on Spotify (and I would assume yet other streaming platforms).

Nice!! Now playing:

Rest in peace. He was one of a kind.

Now, we're set for the CD revival, then the DVD-A revival, SACD revival, etc. etc.

I listened again to some of this stuff (for instance the recordings with Vaughan) and one thing I find interesting with Hammer is that his touch on the Fender Rhodes is more expressive than on acoustic piano, where he sometimes sounds a bit cold. (Like Ahmad Jamal, although his style is completely different) In contrast, Hammer's Rhodes playing and touch is among the more personal and captivating (in my opinion, at least). There are other jazz players who have a very personal touch and style on the instrument (Chick Corea and Cedar Walton, to name two), but Hammer stands out as the only player I can think of who sounds *better* on Rhodes than piano in a "jazz" (rather than "fusion") context.

Here in Sweden, at one time they had spies who visited hair saloons for drop-in haircuts, while secretly documenting the source of music in the waiting area.

Yes, it's here, as well as a link to a sequence from Charade:

Very good news, thanks for sharing! It is probably not appropriate to call Mancini "underrated", but some of his scoring in the suspense/dramatic genre does not get the attention it deserves (I have referred to some parts of his score to Charade elsewhere).

Isn't any and every online message board in decline since probably 20 years?

Interestingly, I just came across this: https://michaelwelchpublications.substack.com/p/peter-littman-100-drummers-ive-seen Based on what has been written here (or maybe mostly in the Chet Baker biographies) I wouldn't have thought that he survived the 1950s.

From Downbeat in 1970.

Is this thread also for Discogs madness? What do you think of the pricing of this seller: https://www.discogs.com/seller/MION.USA/profile?sort=price%2Cdesc&genre=Jazz&q=Blue+note

Is the Japanese pressing a good one (I almost assume it is)? This is my favorite Jazz Crusaders Lighthouse album! I've been looking for a Japanese pressing for a while, somewhat half-heartedly, as I believe it does not come in the gorgeous gatefold sleeve of the US original. Now playing a mono Scepter release (not the best sound quality to be honest) with Art Farmer.

And now:

Very nice album! I have that as a NY Mono, too. From the days when such things were affordable... Most of the releases on the Revelation label are interesting, and often also enjoyable. I believe I have some ten Clare Fischer releases. Now playing this one: