david weiss

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Everything posted by david weiss

  1. Ornette Coleman - Genesis of Genius

    I worked with Bernie recently and thought he did a great job. Granted, it wasn't an audiophile release (it was the Blakey live in Japan release) but he did great work improving the overall sound of these tapes. He also has a great staff around him who would keep everything in check if there ever was an issue....
  2. Sadly, he passed away this past October.... It's barely mentioned on his Facebook page.... https://www.facebook.com/garnett.brown.35
  3. I didn't see this one. What was the title of it or the item number please. Thanks
  4. I believe when they played live, they opened with a drum solo most of the time.... From my notes..... Like Someone in Love (incomplete, sounds like the tape ran out) A Night in Tunisia Take 1 (incomplete, sounds like the tape ran out) My Funny Valentine (incomplete) Trio Round About Midnight Take 2 (incomplete) None of these tunes went on for very long.... I don't know why they went for a slightly more conservative program for these shows but they were towards the end of their tour. This was potentially for some sort of film so perhaps they decided to stick with the hits? Who knows.....

    Nope. It's a test pressing of the ESP disc not the stuff that was slated for Blue Note. The condition wasn't that great on this one and I have a copy of the album anyways.
  6. They played Shorter tunes (Nelly Bly and The Summit) on other concerts from this same Japanese tour. I'm not sure why they went with a slightly more conservative program for these particular shows and repeated a lot of these tunes for both shows like Now's the Time (others were incomplete takes as the tape ran out).

    That's pretty ambitious for.this record even for a test pressing. Ironically, I sold one for a lot less money on ebay a month or so ago (but this one is in much better condition). https://www.ebay.com/itm/234216967242 Ironically, it was purchased by Mats Gustafsson (along with Albert Ayler "Bells")
  8. Key of Green Dolphin Street

    Miles recorded it in Eb. Played it live in Eb as did most others. Miles liked F so maybe it was an advantage for him. He played Ray's Idea in F though it was originally in Db.
  9. Joe Henderson

    Yes, the piano is out of tune to varying degrees depending on the recording. Sometimes it's not so bad, sometimes the music is so powerful, you overlook it a bit.... Sometimes it completely ruins the recording or someone with a conscious deems the recording unusable and the world at large never hears it....
  10. Joe Henderson

    The Left Bank was essentially recording for "archival" purposes. Almost all of the recordings were never meant for commercial release but over the years many have seen the light of day. Some are pretty well recorded many certainly are not and have a lot of issues. Some are salvageable, some are not.... But as the years pass by, a lot of them are the only documentation of many great artists performing live with their own bands during a particular period of time (or for some, ever) and for that, are quite valuable, to me at least. I have to agree with this and like the 2nd one as well but perhaps not as much. Joe is amazing on these and as great as I think he is, these recordings were still a bit of a surprise for me. The Village Vanguard stuff never really floated my boat. It's good but it never had repeated plays in my house....
  11. John Coltrane - Love Supreme: Live in Seattle

    I believe Mark Stryker provided a link to the answer further up this thread. Steve Griggs devotion to Joe Brazil's legacy uncovered this. Noted Coltrane scholar Yasuhiro Fujioka probably made the connections and so on and so on. One of the perks of successfully branding yourself the "jazz detective" is that one is probably approached a lot when things are unearthed. It looks like Steve Griggs laid the groundwork on this one
  12. John Coltrane - Love Supreme: Live in Seattle

    The box was in a bigger box that no one opened for years. This happens more than one would think and in this case, it seems to have come to light because of one person's persistence....
  13. John Coltrane - Love Supreme: Live in Seattle

    Was this an annual festival for a few years? I seem to recall hearing a tape of Freddie Hubbard from there that I think was from 1973.
  14. Not much you can do about the drums I'm afraid. 4 track recording with the drums all on one track so there is not much one could do about the balance of the kit or panning or whatnot. He is still a great player. I hear a lot of Joe Henderson in him on these recordings.... More precisely, they turned the tape machine off the minute they heard the first notes of the melody of Ceora. Saving tape I assume and not recording a tune they knew they would not use for the recording. Hey, the LP set is sold out already I'm told it shipped sold out. As I said months ago, I believe the vinyl craze got this made and a reasonably priced CD set is the byproduct of this phenomena and the least they could do for the rest of us. I guess the CD sales will tell them how much real interest there was in this set in the long run and yes, I assume they can do another LP pressing run down the road at some point.
  15. OK guys, I can't say I'm really that familiar with his writing style but I met the author at the Schomburg when we were both going through Sonny's archives stored there. I know he talked to Sonny a lot and did a lot of research. When we talked about all things Sonny, he did seem to have some knowledge on the subject so from the research side of things, this should be good. I believe he is/was a saxophone player not that that matters much but I think he has more of a back round in Jazz then a Lou Reed bio might imply. He is well versed on the subject, that is for sure but as I said, I can't speak on his writing style yet but I think this will be the most thorough bio we've had on Sonny and that is probably a good thing.
  16. Billy Harper scare.

    HE DID NOT HAVE A STROKE!!!! This was a false rumor spread around in an e-mail chain earlier this week and is completely not true. He is fine. He was released from the hospital on Tuesday and is home and doing OK.
  17. Billy Harper Quintet - Antibes 1975

    Not to hear them tell it....
  18. Billy Harper Quintet - Antibes 1975

    And sometimes they treat you to the nicest dinners....
  19. Billy Harper Quintet - Antibes 1975

    Well, there would be a different deal for original releases I suspect and negotiation directly with the artist if they were the source of the material. I never said the licenser got a royalty as well (though this is not unheard of), I said they get a fixed price based on the number of LPs or CDs pressed... But then there is also downloads.... It depends on how it is released. If it is for record store day, it does need to be a fixed amount. If for general release, it does not have to be a limited edition. I have not implied any nefarious intent on Mr. Thomas' part for only pressing 2,000 copies and making it a vinyl only release. I've just said that this could effect the artist's ability to earn a decent paycheck for his work. I have not estimated any profits for Mr. Thomas, just stated that his payday was bigger then the artist involved. Perhaps that's fine but it really depends on how much more, no? I've had plenty of pleasant conversations with many record label executives, many were pretty honest and some were outright thieves....
  20. Billy Harper Quintet - Antibes 1975

    Again, Mosaic is doing collections of previously (but for an alternate take or two) released material not new material. Mosaic will deal with the record company in question, not the artist in most cases. A new recording requires permission from the artist and a fee to be paid to release this new work. INA owns the physical recording but does not own the rights to the music created on said physical recording. Technically, they can not release the music without the artist's permission. Yes, the artist can turn down the deal if it is not a good deal for them and I have had to do this a few times myself but sometimes an artist will need the money especially during, say, a pandemic and might accept an offer they would not usually accept. You can lay this at the feet of an artist saying it's the artist's fault for excepting all the shitty deals they felt they had to accept through the years but that would not really be fair. Historically, artists have been given shitty deals and that has changed a bit over the years but it has not gone away. Artists are more aware certainly but they are offered crap all the time and feel they have no choice sometimes. I can probably guess that both INA and the record label made more money off this release then the artist. I personally don't think that is fair. This might not be the cases if more records were pressed or CDs were pressed as well. I recently turned down a low offer for a similar situation to this and they remedied it by pressing more LPs to give the artist a more acceptable fee.
  21. Billy Harper Quintet - Antibes 1975

    I'm well aware of the INA archive. INA licenses these recordings to labels for a fee based on a percentage on the number of albums pressed. I've had offers where a larger percentage of the pie was offered to INA then to the artist. Another example of the artist, who produced the actual music, always being last in line for payments... Different situation I believe. Mosaic dealt with collections of previously issued music for the most part (with some alternate takes) and licensed the music from various labels. Sometimes the license deal would be based on the number of albums pressed and hence, one of the reasons for the limited edition....
  22. Billy Harper Quintet - Antibes 1975

    Again, I can't get too deep into it in a public forum. To prove a point, I would have to get into numbers and that is personal. Yes, independent labels do not have the budgets the major labels do but there is still a fair wage to pay a musician even if you are an independent label. But that really wasn't my point anyways though. I was saying that this limited edition model makes it more difficult to pay a musician a fair wage since you are limiting how many you can sell and therefore depriving the artist of potential royalties from more sales. The limited edition might guarantee you make a splash and sell out but it is not the best model for the musician who made the music in first place. I see that the album sold for 28 euros on their web-site so at maximum (if they sold them all through their web-site), 28 x 2,000 is 56,000 Euros. I'm sure a certain amount sold through distributors where the label would see less money per album and there are expenses as well but I don't know about non-profit. Non-profits do have salaried employees and sometimes they take a decent salary as well. I'm just trying to say I'm a little skeptical. More power to him for starting a label and more power to him for these great releases but I remain a bit skeptical about all the limited edition and non-profit stuff.... There is a reason all these labels are jumping into this record store day stuff....
  23. Billy Harper Quintet - Antibes 1975

    I do but I'm not going to go into it on a public forum. I stand by my statement.
  24. For fucks sake Bertrand, I confirmed it was an 8 CD set months ago and yes, I'm pretty confident it will be real CDs.
  25. Billy Harper Quintet - Antibes 1975

    One thing not really considered here is the artist. I don't want to get too deep into it but limited edition releases like this guarantee a low payday for the artist with no hope of any additional sales to make it even a half way respectable payday. These limited edition record store day type things have resulted in some of the lowest offers for compensation to the artist that I have seen in many years. It's nice for the music to come out and I understand the nature of a non-profit and their supposed good intentions but it would be nice to see the artist compensated a fair amount as well.