Big Beat Steve

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About Big Beat Steve

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    Dr. Funkenstein

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  1. More on Pujol from Jazzwax

    Wrong. When the EU copyright laws were revised in 2012 to extend the copyright period to 70 years instead of 50 one key element of the new copyright law was that this extension did NOT apply retroactively. I.e. whatever had exceeded the 50-year copyright period by the effective date of this new EU law in 2012 and was in the P.D. then (i.e. everything prior to that same day in 1962) was going to REMAIN in the public domain. (No, can't be bothered to search online for links to the relevant legal texts but they are out there on the EU websites, e.g. EurLex). Interesting to re-see this thread after all these years. I did not even remember I had let myself get THAT involved in all that. I must have calmed down some since ... but basically IMO it's still this (in line with some of the points raised by David Ayers): Feel free to blast Pujol but as long as his reissues are recordings prior to that date in 1962 (or as long as he DID acquire the rights to recordings past that cutoff date) they are legal by the laws of HIS country. If you don't like that and blame those who sell them outside the applicability of the EU copyright laws, OK - so tell DG, for example, to remove them from their offerings (or else ... ), but OTOH, don't be hypocritical enough either to (for example) buy Japanese reissues that state explicitly on their packagings "Not for sale outside of Japan" (such as the run done by or for Solid Records a couple of years ago).
  2. Ronnie Hawkins, RIP

    Ted Daigle. Bob & Lucille. Ray St.Germain. Les Vote. Bob King. plus the amusing occasional R'n'R excursion by Ted Benoit ... etc ... But of course Ronnie Hawkins was right. Being American (and therefore coming from the "right" country for R'n'R) must have given him a big push.
  3. Ronnie Hawkins, RIP

    I was of course aware of who he was on the Rockabilly scene of the later 50s almost from my early collecting days starting in the mid-70s. Though at the time it took some filtering beyond the usual comments on him and his backing band The Hawks that became The Band, an aspect that of course was blown up out of proportion in any accessible info on him back in the 70s when info on those 50s acts who were more than just footsoldiers but certainly not kings (to paraphrase one publication by Wayne Russell) relied on accessible facts for readers weaned only on then-current acts. Not much later I managed to grab a reissue LP of about half his original 50s Roulette recordings and was really smitten by his drive and punch. Some time before (groping for anything available at all by those 50s acts beyond the usual big-hit suspects in my youthful urge) I had taken my chances on a copy of his 1971 "The Hawk" album on Cotillion but cannot really say I agreed with one (capsule) biographer who claimed he "rocked better than ever" on that album. It wasn't bad but to my ears it remained a somewhat uneasy mix of Hawkins trying to straddle the fence between modernized reworkings of rockabilly classics, relatively contemporary country sounds and Southern "hard" rock backing band overtones. An "evolution" that tried to cover too many bases at the same time IMO and somehow neither flesh nor fowl overall. Anyway, I may well spin this in remembrance again (for the first time in decades) - so ... RIP; Ronnie!
  4. Where Art Thou Coleman Hawkins CD or Lp

    Too bad ... If I had known abouot this book at the time I'd have loved to get a copy without hesitating (though it is U.S. cartoons only), but now it is firmly out of my affordable price range.
  5. Where Art Thou Coleman Hawkins CD or Lp

    True, but the Sauter-Finegans (or Nick Travis' "The Panic is On", for instance) would be in a different league? And admittedly the "faux Floras" above are at least "nice" (IMHO).
  6. Interesting ... I just checked this out on "our" Amazon. So this is Vol. 1 of FOUR? I see this Vol. 1 already available covers the 1906-1949 period of his life. Vol. 2 is said to include a.o. a discography from 1950 to the end of his life so should cover his post-1950 career. But what are Vols. 3 and 4 going to include (or to put it another way, what will be missing in this Vol. 1?) BTW and FWIW, I just checked Durhamjazz.com to find out more about Vols. 3 and 4 but drew a blank. But I wonder who did the fact checking in the music book section and the list of Eddie Durham's musical involvements? It's a fact Eddie Durham was the musical director of an all-girl band. But was this (quote) "The International Sweethearts of Rhythm fronted by Ina Ray Hutton"? Really? I trust the fact checking in the book worked better.
  7. My Friend Hot Ptah has passed.

    Very sorry to hear this. I really liked his posts. RIP and my sincere condolences to his family.
  8. Jazz at the Philharmonic

    Like TTK, I've haphazardly picked up quite a bit of JATP and NGJS vinyls through the years but what I have is far from complete, except for the Verve 10-CD box set with the 1944-49 JATP recordings (which I pull out relatively often). But one I like in a special way is the 1952 session that yielded the "Jam Session #1" and "#2" LPs. One major reason for this is that when I listen to them I take time out to browse through this magnum opus - "Charlie Parker" by Esther Bubley: https://www.estherbubley.com/books_frame_set.htm https://www.amazon.com/Charlie-Parker-Esther-Bubley/dp/2850182230 An entire book filed with pics from that recording session (as well as background stories) and featuring all the participants (not just Bird - everyone!) under almost every angle and moment imaginable. A perfect way to really visualize the music and make it come alive ... The book was published by Filipacchi in France in 1995. I bought it during one of my trips to France when it was new and later found out to my surprise that this is no translated version but in fact is a French-only book that never was published anywhere else. Amazing ... (But of course the French are second to none IMO in taking chances in getting even nichiest niche subjects into print and publication)
  9. Exactly - on both counts: The cover you showed is the one I have too, and an OK dust jacket for "masters of the 70s". But here it would be a turnoff. Just like with many record sleeves, this makes you wonder what the "art"work people were thinking in those stylistically garish 70s. Would it really have been that daring in the publishing business in those 70s to play the retro card at least to some extent in such cases and use a jacket a bit more in tune (literally ) with the contents?
  10. This reeks of a flower-power era pressing (that doesn't exactly hint at the contents from a mile away.) My copy (Macmillan 1966) has a much more sober jacket.
  11. swing stars in the '50s & 60s

    I like them all pretty much too and have tended to grab them unheard-untried whenever I came across one (with the inevitable result of ending up e.g. with a duplicate of the Vic Dickenson twofer - two UK reissues from two different periods with two totally diferent covers so I did nto realize I already had it - and it took me a long time to shift my duplicate at last) but I differ somewhat in my preferences from those that Jazzbo named. My personal favorites that I tend to pull out most often are Buck Clayton, Sir Charles Thompson, Jimmy Rushing, and Urbie Green. But you cannot go wrong with the "others" either. And tastes differ anyway.
  12. swing stars in the '50s & 60s

    I think basically they are. The main differences IMO are that 1) they came onto the Swing scene later than the typical "elder statesmen" of Mainstream jazz (Jacquet/Cobb) or AFTER the Swing era (Davis/Griffin), and 2) overall they were stylistically somewhat more modern than the typical Mainstream musicians, including the younger ones such as Ruby Braff, 3) they had their own thing going in modern jazz and so the jazz scribes probably felt far less need to file them under the "Mainstream" tag of (no doubt) unjustly neglected swing-era jazzmen who still had a lot to say. But stylistic boundaries never were that rigid anyway so it is pointless to categorize excessively.
  13. Album covers showing musicians with their children

    Yes, you sometimes can only guess if it's the artist's child that is shown on the record cover. Like here ...