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I notice Dusty Groove claims the Bradford/SME disc will be out in early February. I'm wondering how accurate that is, though, as DG has been way off in their estimates lately. Lots of stuff, particularly Black Saint/Soul Note, has been what they call "Delayed," often more than a month after the date they originally claim they will have it. I love DG, but some aspects of the business drive me nuts. I wouldn't hold it against 'em except they won't let me in the store with my dog -- my wonderful, free-jazz lovin' dog. He knows better than to pee on vinyl!

Lived in Boston for about six years a while ago. I'm pretty sure Marty's in Allston (193 Harvard Ave.) would carry this new Rogue. & if they don't have it you can grab one of their awesome sandwiches as long as you're there. Mmm.

Excellent news. Can we still expect the Bradford/SME reissue soon?

Good to hear!

Chuck, is that BB/SME set still available (if it was ever on cd)? Just recently got hipped to BB & trying to track all of his stuff down.

I'm sure someone must have posted this before, but it seems appropriate to a thread composed of record store-junkies.

I've only been going to JRM for a few years now (3), but I've always had great experiences there. I'm still very much a neophyte collector (not a collector, really -- just that when you get into improvised music there's always something new). JRM doesn't have the greatest turnover, but if I stop in every couple of months or so they're almost sure to have something I haven't seen before. They seem to have good relationships with certain labels (Emanem in particular). Dusty Groove is really clean. Love them but resent them for not allowing me to take my Yorkshire Terrier in there (even if I held him!). And oh, Reckless, my old stand-by. I live in the south loop so I hit that location up at least once a week I think. I'll also often use their online database to troll for stuff I want, & if they have it in stock I call the store (they indicate which store has the item now) & have them put it on hold, which they are happy to do for a week. I'm afraid I might be abusing this system a bit but the amount of money I drop there must justify my behavior. Please do visit Permanent Records if you're out in Wicker Park or Ukrainian Village. It's run by a wonderful young couple & very well maintained. The selection is small & tends toward indie rock (please forgive the term), but they have small & tasteful sections for jazz, noise, & all sorts of stuff. Also a pretty healthy vinyl section, although my lack of a turntable has kept me away from there lest I get too sad. Also lots of t-shirts & stuff & a big lazy cat who likes to sleep on the counter. Come to think of it maybe Dusty Groove could learn something from Permanent.

"Complete aesthetic experiences" give me the heebie-jeebies. (Of course everyone enjoys a little h-j now & again, no?) But on the artwork tip, those who are at all inclined to store &/or listen to music digitally always have the itunes option of importing the original artwork. I do this all the time. (I should say that most of my music listening happens in transit or in places not my home, so the ipod has become more or less essential.) Just spent a few hours last week breaking down the Braxton Mosaic back into the original albums & pasting the original artwork back onto them. "Complete aesthetic experience" it's not, of course, but it's at least interesting (esp. for someone who wasn't there) to hear what the original document would have sounded like while looking at the original artwork. The experience of busting open the Montreux/Berlin set in 1977 & gently placing it on the turntable I will never, alas, have.

Just got mine for my birthday (11/16). Really looking forward to hearing it. I would have started earlier, but the first thing I had to do was get it all into itunes & break the Mosaic discs back into their "proper" Arista albums (w/ accompanying artwork, of course). Took longer than I thought it would, but now I am ready.

Only posting because I want to echo Ron S's question. Finally bought a car w/ an aux jack (08 Prius), so it's not an issue at home, but can be an issue while traveling in a rental car. I have had zero luck w/ FM transmitters: only occasionally, in very rural areas (little interference) could I get much of a signal, & even then I was compromising terribly on sound quality. (I know, mp3s are a compromise to begin w/, but that's no reason to degrade the situation further -- if anything it's a reason to salvage what you've got.) Cassette adapters I have not tried. Whaddyall think?

Also disappointed in the Heffley. Some weird factual errors, like claiming Jacques Thollot was a bassist (twice, if I recall correctly), & I believe crediting Schlippenbach for European Echoes (or at least including it in the discography under AvS' name). Can't say it was a waste of time as it did get me searching out a number of other texts & records, but in itself & for its own argument it's probably missable (meaning you won't miss it?). Shit, I want that Dixon. Anyone want to dictate it for me? I type pretty fast.

How the f did I miss this show? Damn me for not keeping better tabs on the Velvet in particular. What makes it worse is that I was in Guelph & had the chance to hear Jordan there but had to leave early. (I did hear him give a sort of talk during the Colloquium; his comments were completely impromptu & brilliant.)

This is my first thread so go easy. I've been reading a lot about Cecil Taylor recently after listening for many years. I keep wondering, however: where are recordings of CT between Nefertiti and Unit Structures? Of course there's the obvious answer that no company would sink any money into his music, but how then does he suddenly get a deal w/ Blue Note? Is there really no audio documentation of Taylor's work from 1963 to 1965? Not even boots? Thanks for your help!

Really enjoying my copy even if it's a demanding listen every time. I'm wondering (this is a question for Chuck if he feels inclined to answer) how the sales are looking so far. I get the sense units are moving, but the audience I'm listening to might not be the most representative cross-section of consumers.

Don't have time to scroll through every post here, so apologies if this repeats an earlier comment. Has anyone looked into (or theorized, what-have-you) the nature of digital music as a product of (at least theoretically) infinite supply? (Just talking economics here, if it's possible to extricate the ethics & everything else.) Many have made the point that downloading a digital copy of an album (even if it's oop) without paying for it is theft. Whether it is or not is a (very interesting) question of ethics, but the difference of such an act from theft as it has been understood is striking. It is NOT the case that an object that could have been sold for profit has been removed from circulation, preventing someone else who WOULD have paid to acquire the object from owning. In other words, Barack downloading a copy of Steve Lacy's *Stalks* in no way prevents Joe from buying a copy of his own (if he can find one!!!). Barack's "stolen" copy cannot be the "last" one, as it removes nothing from circulation. And of course there's no reliable way to tell if Barack would have gone ahead & purchased the album had he been given the option. One disturbing implication of the limitless supply idea (which has been brought up a number of times) is the idea that, again speaking economically, it makes music "worthless," or at least approaching a state of almost no value. Here it's pretty much impossible for me to continue separating the ethical element -- the lived experience of music cannot be voided of value, can it?