clifford_thornton

To be honest, I completely spaced that there was an Arista reissue, as I’ve only ever owned the Unit Core pressing. The artist on the original Indent cover was a student of Taylor’s at Antioch: https://www.royalfh.com/obituary/mr-doyle-roberson-7497857/print

yeah, that's all pretty accurate. The Hemphill LP cover looks like this: I assume Cuscuna licensed this, Dogon A.D., the Lakes, and the HAE LPs from their prospective owners. Both HAE records came out on Universal Justice originally, while Dogon was on Hemphill's Mbari imprint. I will admit it's all very murky.

For what it's worth, and back to the OP, there are a lot of non-Bates Polydor jazz records as well. yes.

Ah, okay, thanks. Most of the Bates productions I have are a bit earlier, and therefore I wasn't aware of the DA Music name beyond the CD reissues.

Bates kept the masters when his deal with Fontana/Philips & Polydor was finished and subsequently licensed material to Arista in the US, Nippon Phonogram and King Records in Japan, and other imprints. DA Music (Germany) bought much of his holdings in the 90s apparently as part of a debt liquidation situation. I am sure they weren’t as interested in higher budget artwork as they were in moving product, though from my recollection the CDs sounded pretty decent.

yes, the Cecil and Ayler stuff was on Debut (as well as Bley's "Touching") and then folded into Fontana under Bates' direction. Danish Debut was a fan club label that licensed some American Debut titles as well as releasing music by Danish musicians and visiting Americans... some of the Danish productions were licensed back to Fantasy in the '60s (Ayler, Taylor, Pettiford). Bates didn't seem to have much interest in picking up the titles by Danish artists, some of which have been reissued by various companies overt the years. Earlier thread is here:

That's too bad. I certainly remember his posting in this community, though IIRC it had been a while.

The Essen date was a Danish Debut originally and Bates got that catalog. I have the PJJ on Polydor UK and it sounds great. Fabulous session.

Mixture of smaller & larger groups on the first two, Algonquin is a bigger band throughout. I’d say it’s integral in either case!

There were certainly some Black Lion LPs that consisted of new or relatively new material -- Dexter Gordon Montmartre, Dollar Brand, Philly Joe Jones, and Ray Russell come to mind.

A classic, and one of my favorite Marion Brown recordings.

Nice record! Heard it at a friend's place.

Definitely a label move because of what was popular at the time, but I think he makes it work -- the London calypso ensemble that was put together is quite enjoyable, and his solos are effective. The tunes themselves I can call up in my mind right now! But staying for the second half is well worth the price of admission.

Yes, those are the two I return to most as well.

Great records. An essential trilogy in my opinion.