Daniel A

That's why you're bringing records to shows - to show them! The music is fantastic, though.

What would the optimal royalty model look like? It seems as if every model will have some bias. The streaming platforms are "fair" in the sense that creators are being paid in relation to how much they are being played, without extra cost for the consumer, but the amounts are too tiny. But also the "old" model seems to have discouraged large scale projects. It would be a better deal to do an album of solo improvisation than a large orchestral thing in terms of royalties vs investment.

Since I was, it shows that one can be unaware of such programs, so there will always be a market for other solutions. I would always be careful myself regarding any program that works as suggested above. Grey zone downloads always come at a risk.

Robotized needle-drops?

What is the point here? That everybody must hunt bittorrent sites or obscure blogs, just to avoid buying a PD label box set? Because while you're avoiding potential malware, some Andorran character will make a 3 Euro profit? I am not interested myself because of the unappealing aesthetics of many of the PD boxes, but since the artists would neither get one cent from me if I pay 1000 Euro for a rare original LP, why get worked up over some people buying them? As for YouTube audio, it has support for lossless, so if you want it can be as good as anything. And while some uploads are lo-fi, many others sound much better than AM radio.

But I want the cover. That's why I want the LP.

Edit: I have decided to remove the contents of this post as it didn't help the discussion. A sad story, that's all I'll say.

He was the one who discovered singer Alice Babs. As a bass player, band leader and eventually record company executive he had some influence on the Swedish music scene. He also produced some shows for Swedish television as the jazz series "Trumpeten" (the trumpet), including the Kenny Dorham Golden Circle gig which I believe is still on YouTube. He died from a heart attack in 1967.

Yes, Art Farmer's The Time And The Place had a whole extra session.

You learn so much at this place! Mike, with your knowledge on Tjader, do you have a theory as to how he would have known and recorded the tune "Here" a year and a half before Mackay himself? I cannot see any evidence that they played together.

This is truly fantastic. Thanks for posting. The text at the end falsely states that this was recorded in Norway. Also, no mention of what I believe was the original producer Simon Brehm who can be seen smiling at 14:55.

Thanks for the information, I didn't know that! What's interesting is that it was originally on the very first release on the Skye label, which was recorded a year and a half before Dave Mackay's own version. How did he know of this tune, which he also recorded two more times according to Mike Weil's excellent discography?

Oh, this is fantastic! I've never heard this album.

That album is a hidden gem. I've always loved it. And for an Impulse album it's surprisingly rare. At least I have never seen it, except for the Japanese CD I got back when it came out.

Then I will offer you something from the other side of the American bossa spectrum so that you don't have argue about the jazz content; Dave Mackay's and Vicky Hamilton's 'Here', in 5/4, with congas and the "father of Toto" (Joe Porcaro) on drums.

Yes, shuffle bossa has something to it. And the more shuffle, the better. "Bossa" playing often brought out the more restrained and easy going side of Oscar Peterson, which can be a pleasant change for those who are less engaged by his double-time playing.

Here's another favorite of mine from the good year of 1963, featuring the extremely un-Brazilian Elvin Jones on drums:

Thanks for the reply. Although I was more thinking of the type of American bossa which neither tries being Brazilian, nor claims to be bossa nova. It almost has to be reworkings of other popular tunes, because if it's based on some real Brazilian composition it can't help being at least five percent Brazilian. But some things come close, like Oliver Nelson's/Hank Jones' 'Mas Que Nada', turned into a spy spoof movie soundtrack.

Don't derail the thread. I want to discuss American Bossa.

TTK, what are your feelings towards early "American" bossa (~1963) that is not advertised as such? It doesn't claim to be anything else than perhaps "jazz". The rest of Nancy Wilson's 'Moon River' doesn't really live up to the fantastic intro, which I think displays some of the hallmarks of my favorite type of American bossa; it has the rental car ad vibe, totally void of any sense of melancholy.

Was this the last post from Soulstation?

"Whatevs. My point is..." His moniker was explained in some thread 10+ years ago, but I couldn't find it when I tried to search for it a while ago.

Bud Shank seems to have been early out, but it didn't prevent him from releasing "American" bossa nova recordings later on. That said, I like the bossa tracks on albums like "Bud Shank Meets the Sax Section" from 1966, partly because I think it's one of Bob Florence's better efforts. Clare Fischer always seemed to stay closer to "real" bossa nova.

Somewhat chronologically, I believe. But the Christmas album is missing.