JSngry

He no doubt knew them from his prior life in LA. Same with Arthur Blythe. He was around there, then.

Anointed with oil on troubled waters - Oh heavenly grid, help us bear up they standards, our chevron flashing bright across the gulf of compromise, standing humble on the rich field of mobile American thinking here in this shell we call life. Angels 3 Devils

Ok, if the only Miles Davis cut I had ever heard in my life was this and if somebody told me just that Miles Davis was the leader, composer, and keyboardist, I would still think that this was one badass crazy motherfucker, this Miles Davis guy, oh hell yeah, why how come he don't have more records, I want to hear more of THIS! Trumpet solo really not relevant to the badassness of the music here. And fullest props to Teo for making the record out of the music.

The culture that Crouch was part of "then" would, without too much of a stretch, be seen as a parallel to some elements of "now"'s hip-hop. Or, for that matter, "other side of the tracks" redneck culture then and now. I'm sure there are equivalents across all cultures. Point just being, projecting "strength" involves a lot of thigs that are pretty distasteful today, because definitions of "strength" are evolving as populations change. Survival of your culture fully equating to the need to breed is a reality that has only quite recently become a pretty obviously non-essential universal need, and the more "up against the wall" one is, the slower it becomes evident. Crouch, though, he got out of that world, supposedly, but his mindset did not evolve, and most likely fueled his grudgefight with Cecil. He gets no excuse from me. Mary Lou Williams was at least subtle about it. But to single Crouch out for his homophobic attitude is, I think, taking a too easy shot at a too obvious target.

Or maybe that's just a fact of life for a certain subset of the culture/time/place that is only somewhat evolving

Well yeah, he definitely caused harm to people, not usually(?) directly or intentionally, but that shit definitely affected people's earning potential (note - potential). So... hurt people are not predisposed to being kind, not should they be expected to be. When they are, hey, more power to them for rising above it all.

This is a damn good record. 1 Palo Alto > all the Columbias by this band.

Well, that was something! His good thoughts, where they existed, were quite delightful. Rest In....whatever it is that he would want to rest in.

Your guess is as good as mine...I think this was one of those "anonymous studio band" grocery-store-label products, both of them.

Tenor Saxophone [Uncredited] – Bill Barron Piano [Uncredited] – Kenny Barron Bass [Uncredited] – Ron Carter Drums [Uncredited] – Charlie Persip Featuring – The Brasileros

Hey, Classics weren't ALWAYS out of print, and yes, I am old enough to have had the chance to buy them all new. But didn't, I think? some i wish i had, because there's not been a lot of depreciation on them that I can see. I have to think that that's at least in part because, not just because of the artists, but also because Classics is a PD label that left room for genuine value to be added. PD is not really intended to be a money-grab #joudureejodoorahisNOTyourfriend That's 3 becuases in a single sentence, so it must be true.

I wonder if people even know what they're hearing, I mean, ok, you're hearing a "record", you're hearing "music", but what is your point/frame of reference for even knowing that that is. How do you know? So yeah, ok, something "sounds better" than something else, but what the hell does that mean, really? You know, not even players are 100% allt he time about what sounds what, so now you got people who have never heard a big band in a meaningful way or a bebop combo in a meaningful way or a string quartet in a meaningful way, you get the idea, so why the hell does anybody care what they think "sounds better"? What the hell are they hearing, I don't know and maybe don't want to know, I mean, I figured out Yesterdays' New Quintet and that was a revelation that I need to only have once. Once was delightful, but yeah, one gotten, let it go. Chuk is right, this is about artifacts, objects, I own therefore I hear. What is that in Latin?

CC was a very simple premise executed well - original records, not particularly remastered, no alternate takes, minimally annotated, and not exactly a cheap price point. Plenty of ways to add value there, and enough incentivization to look at CC as a "starter set" - if there was a market that would create somebody like Mosaic to do it up "royally" (only with better teeth, I should hope)! Although having said that, I only buy them second hand (or get them ripped), so as not to contribute to any possibly perceived slutting of the content. But still, that, to my mind, that's the correct application of PD - to keep content available without cheapening it, leaving room for the "royal treatment" to still be an attractive option if/when the time comes along.

And see, that's why you don't buy that shit. You trade for it, you file-share it, you do all sorts of things do get to it, but you do not buy it, because once you actually buy it, you have monetized the item, and you have set the value at such a low point that it becomes difficult to add value for a further, beter quality product for an item for which the item is already minuscule. Take away the portion of the potential market that is going to be "satisfied" with a lesser product...if/when there can be a non-profit that can do justice to the music (and no, I don't expect to live that long, I mean, if JALC has all these deep pockets and has such a "genuine" interest in preserving the music's heritage and they don't even try...), this is what happens. The bar keeps going lower, not higher. At least not in the for-profit world.

If a truly epochal original couldn't get it done, what hope does a lounge-y sounding remake have? Wishing won't make it so.