Daniel A

They would keep the cigarettes, but also include a graphic health message. Maybe also a spoken warning as track 1.

Just from memory, some digital errors were purposefully introduced that would be overcome by the default error correction circuit of any audio CD player, but supposedly would confuse the ripping software of a computer. It didn't sound like a good concept to begin with, and as it were, some ripping software was able to overcome the "protection". I have never seen any reports that there was any audible artifacts from the protection, but that is not to say there couldn't be any. I believe that these discs were not allowed to be labeled as "Compact Discs" as they deviated from the standard.

I agree. Terrific session! Interesting also to hear Corea backing Hutcherson from that time period. The compositions are all such good starting points for improvisation. I don't think sound is up to RVG standards, but it serves the setting and material well enough. Original vinyl and also the Addey sound best in my opinion. Japanese Toshiba and King are a step behind, and 80 DMM vinyl sounds very dull in comparison. My favorite Hutcherson album.

Yes, Db is a pleasant key for a piano player. Didn't Oscar Peterson do The Girl From Ipanema in Db instead of F, BTW? For reasons I have not analyzed I find Eb to be one of the most comfortable keys to play in (on piano). To instead mention under-played tunes, there is a fantastic tune in a hard key, Richie Powell's 'Jacqui' : It has an AABA form, where the B section is a blues in... B! And now when you got me started... It can be really refreshing to play over-familiar tunes in new keys. I am fortunate to have some skilled musicians in the neighborhood and we usually jam for an hour or two on Sunday afternoons in one of the guys' basement. Last time, we played Buster Williams' 'Firewater' which ends on a minor Eb chord. We vamped the two last bars a couple of times, and then it felt natural to segue into something else, which happened to be Maiden Voyage, but played in Eb rather than D. The change of key really made the whole tune sound so different, fresh and with a lighter character.

Yes, impossible to get rid of!

I've got "Powerhouse" on an Applause CD with the red cover. Sound quality is bad. The Pacific Jazz vinyl sounds better, though perhaps not really hi-fi. Lighthouse '69 is a favorite of mine. I believe there is a post somewhere here (maybe from Kevin B) where Michael Cuscuna is quoted, to the effect that he had prepared the album for CD release with bonus material, but just couldn't go ahead because of the collapse of the CD market and generally poor sales of Pacific Jazz reissues. These two albums ('69 and Powerhouse) were the first two Jazz Crusaders albums I heard and are still the two I return to the most. But as Mike mentioned above, the Chile Con Soul album is also really enjoyable.

I always thought Eb was the "right" key. And I don't know about live versions, but Miles' studio version (with Cannonball et. al) was in Eb. Supposedly the tune was suggested by Cannonball, so maybe he got to select the key as well.

Have not tried, but will do next time. For many years, I have (without reflecting much over it) recorded mono LPs in stereo and then used only one channel - the "better" one if there is a difference - for the final audio file.

I would like to return to the topic of playing "straight-ahead jazz" (a misleading, but nevertheless accepted heading) on a Fender Rhodes. It was mentioned upthread that some players are/were able to play the electric instrument with a bit more of a character. I believe that those who are successful in that, embrace the different timbre and sustain/staccato capabilities of the instrument. Someone recently made me aware of that I tend to play longer lines on piano than on Rhodes. I have reflected on that observation to understand why that is the case. I already knew that I sometimes use different voicings, as I think that the Rhodes sound is an advantage when having two or three notes of the chord close to eachother. I do not know enough of theory to explain, but I am guessing it has something to do with the differing overtone characteristics of piano vs Rhodes. The longer sustain might also encourage me to let some chords ring for longer, which will also affect the choice of chord in the first place and how it sounds together with what else is being played. However, on the other hand it is also hard to resist using the quicker damping of the Rhodes for shorter staccato accents. Overall, this provides more variation in the way the comping supports the soloist (both from the Rhodes itself as well as other instrumentalists). When it comes to the solo lines, I have not come to a conclusion, but a theory is that the two factors above (sustain/damping) are likely to break up also my soloing, whereas solo lines on an acoustical piano are more smoothed out and "flowing". I am sure fellow pianists recognize the fact that individual pianos are different, and sometimes you might encounter an old upright piano with "slow" damping, which might discourage you from playing a lot of quick passages. I find this topic fascinating and would love to hear @Gheorghes and other people's view on this.

And then a failed large-group effort for MPS, followed by a return-to-hard-bop-roots comeback album on Criss Cross in 1980.

Aren't there at least three Lighthouse albums? I like '69 best, but it never had CD release. They were never that different live (or maybe this reflects the choices of the producer), but what is interesting to me is that they were going in two directions at once towards the end of the "jazz" period. Both more "post-boppish" (check out the tunes written by Buster Williams) but there were also the more groove-based material; a precursor of the 70:s "Crusaders" (sans "jazz") era, but with a more "raw" attitude.

I know that this is not what the thread is about, but Mancini did so many great things that do not get enough attention. The score for 'Charade' is great, but the best parts did not make it to the original soundtrack album, something which Manicini himself regretted. There was eventually a CD release which included all of the music. The music for the metro chase scene is terrific.

This edition is apparently $550-600 each. Too much dead wax, maybe? (though hard to tell without a label on) I still don't understand how these were made. Seems unlikely they would run "the original source master" (whatever that is) 999 times. FWIW, they are also making 999 copies of Getz/Gilberto, allegedly engraved one by one directly from the master tape...

"Each record is cut from the original analog source master, one by one, without any digital interference, compression or compromise onto the finest lacquer blanks from Japan." Do they claim that they played back the master tape 999 times? The tape that was lost in the 2008 fire...? According to Jazz Times it's one million copies in the US. It went "Gold" (500.000 copies) in 1970.

From another genre: Victor Borge. Maybe this is just a side effect from that the format of instrumental soloist, with or without backing, has gone out of fashion? But it seems the desirability of pianos with the general public peaked around the late 50s/early 60s, at least in my country.

Thanks to a video that fellow member TTK posted in another thread I started to look for Dudley Moore clips from the 60s. I was then struck by how well his basist Pete McGurk was playing. Great lines, great tone. To me, he was the real star of that trio. Sadly, he passed under tragic circumstances in 1968, but other than that I know nearly nothing of him, and he doesn't appear on that many recordings that I can see. Do any members have recollections of him or can tell more about him?

I'm only aware of three female members here off hand, and two of them have died in recent years.

Well, during the early years he seemed to go by "Kinny" a lot of the time.

Why repeat mistakes from the past?

I agree that you play differently on a Rhodes, as I mentioned in a post above. But I think that you can still play hard bop tunes. You just do them differently.

After a gig on Rhodes 20 years ago, I dropped everybody in the band off in a rental car, and then realized that I was outside my own house alone with a Rhodes in the trunk. And I lived on the 16th floor... I happened to convince some bypasser to get it out of the car and then just dragged it after me into the elevator and further into the apartment. Those were certainly the days...😄

This might be mentioned in the book (which I haven't read but plan to seek out), but read in an excellent book on the Mission Impossible TV series that the 5/4 selection was intended by Schifrin for the final chase of the pilot episode, but Bruce Geller made it the main title theme because he found it so exciting. A good move, probably.

This is a personal preference, but I quite like the combination of acoustic bass and Rhodes, whereas I am less fond of acoustic piano together with electric bass. I do not have a problem with straight-ahead jazz (according to my definition of the style) played on a Rhodes, if the player uses the instrument to its advantage. I play Rhodes in such situations myself sometimes, and the longer sustain - compared to an acoustic piano - inspires me to use other voicings, often with a more dissonant edge. The "muddiness" can be compensated by adjusting the amp somewhat, so that you get some nice distorsion on the fatter chords (you got to have a good tube amp, though). As for Wurlitzers, I have found them (at least the ones I've tried) to be somewhat too "lightweight" in touch. I just like the more piano-like resistance in the keys of a Rhodes better (again, this will vary quite a bit between different Rhodes instruments, even within the Mark 1 generation).

Lots of great TV scores still remain unreleased as standalone albums. Maybe some of them are lost. Some of the very best scores of the mid 70s were in the first two seasons of Baretta. From what I can recall, Dave Grusin is credited with all or most of them, but there is a curious similarity to some arrangements Tom Scott did around that time, both in terms of a rougher edge than Grusin's other scores and some of the use of woodwinds (it sounds as if Scott was in the band anyway, like he was in the contemporaneous Three Days for Condor soundtrack). And Dave himself did not list the Baretta scores amongst his credits at his own website when I looked a while back. Maybe he was not satisfied? (In an interview in Keyboard Magazine I read decades ago, he complained that the schedule for doing the scores was unreasonable) In any case, he should be, as the scores were great. Still hoping for a luxurious release of those scores. Edit: Just checked the IMDB, and discovered that Tom Scott is indeed credited for a lot of the scores (which I didn't remember from watching the show in the 90s).