Daniel A

Thanks, Lon. I am tempted to get the set, mainly for the added material, and to some extent for everything else (remastering, liner notes, Cuscuna's last set etc). But what bothers me is that I know that I like to approach music by the original albums - which I already own - with original artwork and not split between discs. Hence, I fear that I will not play the set as much as I "should".

The printed magazine lasted only two more months.

Please share your impressions of the Stanley Cowell composition ("Photon...") when you get there.

I realize that this is not what you're asking for, but it might be interesting for other reasons. (These posts are somewhat buried at James Harrod's site) https://jazzresearch.com/tag/wp-45-77800-88000-labels/

33 rpm 7'' discs were fairly common here and were called "EP:s" (as opposed to 45 rpm "singles"). It seems as if the term EP is used for 45 rpm discs in many (most?) countries.

This was the only thread I could find with "Dragon Records" in its title. Maybe not so much about that particular label, but nice to read it again. And perhaps the appropriate place to note that Lars Westin, who founded the label together with pianist Jan Wallgren in 1975, passed away late last year, somewhat under the radar. I would be surprised if there were more releases from the label. They had almost a 50 year run under the same ownership. Incidentally, the first and last original releases for the label (from 1975 and 2020, respectively) were by the same artist, Swedish trumpeter Bengt Ernryd.

Cowell gets less solos than any pianist in late 60s Blue Note quintet sessions, for whatever reason. He's very good in this band (there are also several unofficial live recordings). Corea might not add anything outside of what Cowell does, but to me, there's a special magic to the Total Eclipse session. Somehow, it seems as if the band was playing freer, not in a harmonic sense, but in terms of flexible dynamics and interplay between the musicians. Or maybe it is just because that album was my introduction to the Hutcherson/Land band and I'm slightly nostalgic about it. My favorite track is 'Same Shame':

I don't believe just about any of these artists ever turned up in the second hand bins over here around 1995. 🙂 Maybe people held on to them? I was thinking more of GRP albums featuring Don Grusin on Yamaha DX-7.

More like mid 80s maybe? Incidentally, I remember being told by older - and supposedly wiser - jazz fans already in the 90s that 1987 was the worst year for jazz, ever (in terms of what was being produced). I still do not have enough data to be able to confirm, but what turned up in the second-hand bins from that year always seemed to be unappealing.

I believe Jacknife (on vinyl) was my first McLean album. Fantastic playing, also from Jackie himself. I really like the style, half-way in between the more progressive albums that were released in the mid 60s and some of the more conservative hard-boppish sessions which also were not released until the 70s. The tune "Blue Fable" is to me such a great example of that.

BTW, I was a bit slow, but I eventually uploaded most of these BFT:s (I think there might be one left). It turned out that disk 2 of BFT #4 was incomplete, but Jim has managed to fix that. I did a quick check among the threads and it appeared that the "answer" threads were still there.

That is also what I tried to cover in the first half of my post. Sorry if it was unclear. If the stream is identical, the sound is identical. If there is error correction involved, there is a potential for differences.

This thread is derailing, but it should be noted that there might be a theoretical difference between playing a CD in real time on a CD player, which employs some kind of error correction, and ripping a CD, which might yield "better" or "worse" results depending on the software, and - obviously - the CD-ROM drive. Given that the extracted file is bit identical to the digital output from the CD transport and it is fed through the same D/A converter etc, there cannot be any difference in sound, as it is the same series of 0:s and 1:s that has been converted.

But does the chosen take have to be the final one? Could they have made 15 takes of 'Buddy Boy' and then one take of '2 J'?

I consider this to be more post bebop than Jim Hall:

IIRC, he applied for the job, but the cab company owner would not take it seriously. But I get your point.

Possibly, he was replaced because of his terminal illness; he died from cancer in 1985, aged 64. I read somewhere that he then still lived with his mother, who outlived him by 19 years!

At the moment, the oldest one available on Thom's site seems to be my BFT#142. I have the following as MP3:s and can upload them at any point: 1, 2, 4, 5, 6, 34, 50. I should have my own first BFT#12 somewhere as well (but apparently on the hard drive).

They are listed in the Discography section on the release page. The new title is "Photon in a Paper World", a composition which appeared on a Stanley Cowell album from that time. Somehow, I was not surprised that there weren't any alternates from the Total Eclipse session, which would have been the most exciting to me. There's a certain atmosphere to that session which I'm always attracted by.

I sympathize fully with the observation that Discogs is not always a friendly or even "reasonable" place. And I would expect that the owners would like to make a profit, and that any usefulness for music lovers and collectors will sort of come as a side effect of that. But at the same time I would like to acknowledge the fact that the place would be less useful to me without all of those people obsessively adding every tiny matrix number variation or misplaced comma on a label. I expect some of them to be perhaps less interested in the music, but more in the "archeological" aspects of record collecting or in the database perspective of Discogs. I want to listen to music as well, and would not have (or want to spend) time to make 100.000 edits or thousands of additions. For this reason, the types of Discogs users mentioned above will have a greater impact on much of the discussion around and actual addition of content than the casual - or even many a dedicated - music fan. However, without them, some of the facts and details which are interesting and of value to me would be missing from Discogs.

Thanks, interesting! But I cannot find any examples of this recording anywhere else. On Discogs, there are a couple of Coronet releases with calalog numbers starting with "CX" in the 50-60 range, some of which have a French connection: https://www.discogs.com/master/919517-François-Chantal-Accordeon-De-Paris However, not this one.

Thanks, Niko! Anyway, that he recorded "for" Coronet seems a bit of a stretch.

The Wikipedia article on George Duvivier refers to a recording I have not found any reference to elsewhere. "Although he spent most of his career as a sideman, he recorded as a leader in 1956 with Martial Solal for Coronet." Coronet seems also as a somewhat unlikely label for such an album, but before making an edit of the article, I'd like to ask the members here whether they recognize this supposed album.

https://www.motor1.com/news/714014/volvo-last-diesel-car-built/

Thanks, Lon. I have all of the material except the Mode for Joe alternate take and am trying to decide which way to go. The Japanese single CD would be "easier" for me in some respects.