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Fer Urbina

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Everything posted by Fer Urbina

  1. For what it's worth, my copy of their 2-CD set of Alec Wilder's music, which is probably the last thing they ever released, is definitely regular CDs. F
  2. I searched for it too back in January, and found that the label is now owned by 43 North Holdings. Their website is now down, but this is what they had back in January: https://web.archive.org/web/20230929105045/https://43northholdings.com/labels/hep-jazz/ I don't know whow "43 North Holdings" are, but when I checked im January they seemed to own quite a few independent labels active in the 1950s, like Period, Warwick or Everest. As for Hep, I'm not surprised at all. Robertson told me years ago he was thinking of quitting. F
  3. Just did a quick search, and found this page with a question from the IJS's Vincent Pelote and the reply from Wally Richardson himself (in January 2020!): Neal Hefti-tp, Carl Gianelli -as, Wally Richardson -g, "a bass player from England whose name I can't recall", Mel Zelnick -d. I guess that the bassist was Peter Ind. F
  4. Incidentally, a LoneHill set with all the original quartet master takes (LHJ10356) also included a track from the Reunion, in this case "All the Things You Are" (minus one chorus by Chet Baker). I noticed when I put this blogpost together. F
  5. As far as I know, it's common practice that if an artist has an exclusive contract with a label, said label has first call on any recordings made during the duration of the contract. That's what happened with the Monk at Palo Alto recording. It was announced as an Impulse (Universal) release, but Sony (as owner of Columbia, Monk's label at the time) stopped it till they reached a deal. Nothing to do with EU jurisdiction in any case, but with a clause in the contract, I guess. F
  6. Majors like Universal (I doubt Blue Note has their own legal team) and Sony don't care. In the big scheme of (their) things, this is peanuts and not worth the hassle. If they cared, you wouldn't see a single EU release for sale in the US -- strictly speaking, they're illegal over there. I know someone who was pretty high up at Universal in Europe years ago and tried to convince the American branch to do cheap reissues on the 49th year of the original recording/release, that is, one year before the EU reissues came out. Never happened. Like talking to a brickwall. F
  7. Two issues: one is that the law states 50 years from the date of release for pre-1963 recordings. For instance: unauthorized "EU" releases of the 1945 Bird/Dizzy concert produced by Uptown in 2005 were illegal because it was a 2005, not 1945, production. The other issue is enforcement: masters owners don't care enough or don't have enough resources to litigate. The only case I know of following the letter of the law is Germany's Bear Family going after the UK's JSP for lifting their new masters of the early Carter Family recordings, and I'd guess that both countries being under EU law at the time made things easier. F
  8. Info to submit a NEA Jazz Master nomination: https://www.arts.gov/honors/jazz/make-nomination-nea-jazz-masters I've done it twice, but didn't work, so I'll excuse myself 😅 But I agree wholeheartedly. In my personal case, just for his work on Blue Note (all the EMI reissues, including Capitol and Pacific Jazz), Impulse (on MCA, then Universal), and Sony (the series of Miles Davis box sets), I'm forever indebted to him. Add to that the Mosaics, and he's done more than anyone else I can think of in terms of providing me with an education in jazz. F
  9. Hear, hear. Curio: This is the ending of an early review (first ever?) of some ECM LPs by 32-year old Michael Cuscuna on Downbeat (May 11, 1972). F
  10. I wrote to MusiconCD through their contact page and they have delivered the correct CD. Thanks again for the heads up! F
  11. About the first one, yes: As far as I can tell, they're all new masters by Mark Wilder and Maria Triana (Battery Park Studios), except for the Rosemary Clooney, Such Sweet Thunder, and Black, Brown and Beige, which are, respectively, verbatim copies of CK65506 (Didier C. Deutsch), and Phil Schaap's CK65568 and CK65566 (hence the wrong coda on "Up and Down"—a pity that this wasn't corrected, given that Sony does have a digital master of the correct one, released on the compilation Ralph Ellison - Living with Music, CK 85935). F
  12. Thanks jazzbo and ianfaith! I just checked and indeed in my copy "Bal Masque" has the music of "Indigos"! We'll see how it goes.
  13. Dutch label Music on CD is reissuing some 10/12-year old sets previously on Sony/Legacy (more to come, I presume): Paul Desmond: The Complete RCA Albums Collection (6 CDs) Duke Ellington: The Complete Columbia Studio Albums Collection 1951-1958 (9 CDs) Dexter Gordon: The Complete Columbia Albums Collection (7 CDs) Weather Report: The Columbia Albums 1976-1982/The Jaco Years (6 CDs) Nina Simone: The Complete RCA Albums Collection (9 CDs) I've got the Ellington (I missed it the first time it came out) and from the small print it is a verbatim reissue of the 2012 set (which was discussed elsewhere in these forums). F
  14. Hi Mark, I blogged about this some time ago and have updated the post as I've found "new" relevant stuff: https://jazzofftherecord.blogspot.com/2009/12/rhythm-ning-detour-un-desvio.html From the period you ask, you have Teddy Bunn on "I've Got the World on a String" in 1934 (it's linked in the blogpost). F
  15. Thanks to Mark for the alert on this. Here's the whole half-hour show: https://www.jobim.org/jobim/handle/2010/4405 F
  16. I have played the CD. Sounds good to my ears, but have not listened attentively enough. One thing, though: Although disk 2 carries 6 alt takes, of which 5 are previously unissued, it does not carry the extra takes of "Evidence" (5:26) and "Blue Monk" (6:55) included regularly in official reissues since 1999. F PS: there's a previous thread on this album, its reissues and their sound quality.
  17. Just saw it on FB. Really sorry to hear this. He was great to deal with and very friendly too. RIP. F
  18. Have had the set as background music (pun intended), so I don't have a detailed opinion yet, but so far I'm very happy with the music. With the liner notes, not so much. Besides things like a note alerting of the disparity in sound quality (CD1 can be a scary first impression), I miss some more context. Some examples from CD2. Track 1, "Spectrum", multitracked, at RVG's in 1952. No mention at all of "Descent into the Maelstrom" (are they related? how?). Track 2, "New Pennies". Sounds like an alternate take of "C-Minor Complex" from The New Tristano (same opening bass line, both in C minor, both same changes as far as I can tell). Is it? There are 14 tracks from that 1961 session at home: are they outtakes of The New Tristano? I know and agree that what's important is the music, but just saying that the notes in the booklet "are not meant to inform -- just to note muy personal feelings and reactions to the music as it unfolds", doesn't cut it for me, especially in a text where, besides the perfunctory hat tip to Barry Ulanov (has no one else written favourably about Tristano?), all references to writers/critics are negative clichés. F
  19. Note that there's a reissue with one previously unissued track and longer edits of two others. https://www.discogs.com/es/release/11845498-Lennie-Tristano-Descent-Into-The-Maelstrom F
  20. For what it's worth, besides the list of songs, the Frémeux site also carries the whole liner notes in French and English, here. F
  21. Various Artists: Slavery in America - Redemption Songs: 1914-1972 (3CDs, Frémeaux & Associés, FA 4467) Info on the Frémeaux site. £4.32 at Amazon UK.
  22. Love both records, especially the 4 Altos, for which, Sims played the head and soloed, then Handy took the recording home, transcribed the solos, arranged them for four voices, and brought the stuff back for the overdubbing session. I think that doing this on alto instead of tenor was a great idea, it's a lighter sound, and few, if any, could have pulled it off like Sims did. Curio: on "The Last Day of Fall", Sims has a rare single-line solo -- Handy harmonized it for 4 saxes two years later for Hal McKusick's Cross Section: Saxes. As for the other, the alto/tenor/bari, Sims did the overdubbing on the spot. Williams told me that the rhythm section killed time having drinks, and that they were hammered by the end of the session. F
  23. Thanks for making this available. It's well-known that Charlie Christian was one Tristano's favourite soloists, but it's nice to hear such a heavy Benny Goodman/Charlie Christian sextet vibe. The first line on the guitar solo on Found a New Baby is a direct lift from CC's solo on same track. And the intro to Honeysuckle Rose and then the ensemble towards the end are from Gone with What Draft. F
  24. I know for a fact Dot Time had an unissued trio ready to go, possibly more stuff. I wonder if the Mosaic comes in lieu of those. The estate also released a CD with some unissued things or in better sound than before (this one). Really intrigued to see what they come up with now. When I got the email I thought it'd be about the Black & White set... jaw dropped to dislocation. F PS My first Mosaic was their Tristano/Konitz/Marsh set, bought after much pondering over cash flow issues.
  25. The LoneHill has exactly the same studio tracks as this one by Fresh Sound: https://www.freshsoundrecords.com/gerry-mulligan-albums/4467-the-san-diego-concert-1954-complete-studio-sessions-1955-1956-3-cd-box-set.html In order to have all the studio recordings on CD, you need either of those, plus the Japanese Mainstream of Jazz, Vols. 2 (32JD-104) and 3 (32JD-105). Vol. 2 has the alt tk for "Blues" (12061-2), and Vol. 3 has the other five tracks. NB: all discographies carry mistakes about these sessions. The correct one is the Mosaic (available at Archive.org). F
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