mgraham333

Blue Note Reissues for 2008...

356 posts in this topic

I wasn't aware, Chuck - will have to play it again soon! Always liked it!

Don't mean to mislead anyone. I had nothing to do with the original date but did prompt the reissue by having an online pissing contest with one of the 32Jazz guys on RMB. He mentions this in the notes.

Ubu, since your are unaware, do you know this music from some download?

No, I went on a 32jazz search when the label went belly-up and was lucky to find about 25 or so CDs, among them the Altschul. It has just been a couple of years that I played them, and I happen to read liners once mostly, when I get a new disc, and not look at them again later...

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Y'know, it occurs to me that the number of 32Jazz CD's that I own should prove to anyone how much more I care about music than attractive packaging. :rolleyes:

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With the announcement today that EMI (owner of Blue Note) is planning to slash their staff in half tomorrow, I have to wonder if these "small fry" releases that Blue Note has planned will even happen.

I don't see these beancounters giving a guaranteed low-selling Jazz release the go. I wonder if there will be a Blue Note after tomorrow?

Anybody know if there's still a Blue Note?

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With the announcement today that EMI (owner of Blue Note) is planning to slash their staff in half tomorrow, I have to wonder if these "small fry" releases that Blue Note has planned will even happen.

I don't see these beancounters giving a guaranteed low-selling Jazz release the go. I wonder if there will be a Blue Note after tomorrow?

Anybody know if there's still a Blue Note?

I wished them luck in a mail regarding a proposition for a Mosaic Select, and in his recent (well probably two weeks by now) reply, MC said they didn't know anything about their future yet... I guess it takes a while to evaluate things and decide how to milk that cow...

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Not that anyone predisposed to grab the new Horace Silver CD needs a review in the NYT to confirm their intention, but here it is anyway:

Horace Silver

The 1958 Newport Jazz Festival has been unusually well documented, both on record (live albums by Miles Davis, Duke Ellington and others) and on film (Bert Stern’s chic, frolicsome documentary “Jazz on a Summer’s Day”). So “Live at Newport ’58,” a new Blue Note release by the pianist Horace Silver, doesn’t represent a landmark acquisition for the annals of the festival. It does, however, capture Mr. Silver in exceptional form, approaching the pinnacle of a career that had few rivals in the hard-bop era. He appears with a preliminary version of his classic late-’50s quintet, with only the trumpeter Blue Mitchell missing. (The trumpeter Louis Smith, who plays wonderfully here, would shortly withdraw from the scene, devoting himself to teaching.) The band digs into an invigorating set of four Silver compositions, including “Tippin,’ ” the relatively obscure B-side of “Señor Blues,” which also turns up. On every track — most strikingly “The Outlaw,” with its bubbling Latin undercurrent — Mr. Silver propels the action from the piano chair, sounding savvy and completely in control.

Glad to see they are meeting their anticipated street date of tomorrow.

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Well, since the Times published its review, I was curious to see if All Music has a review up before the CD hits the stores.

Review by Jeff Tamarkin

With their 1956 Blue Note classic 6 Pieces of Silver, the Horace Silver Quintet had helped establish hard bop as the most exciting new direction in jazz in some years. Only two members of that group, saxophonist Junior Cook and drummer Louis Hayes, remained with pianist Silver when the Quintet took the stage at the Newport Jazz Festival in 1958, and as formidable as the lineup on that record had been, the additions of Louis Smith on trumpet and Gene Taylor on bass for the Newport session gave the Quintet a new ferocity that was only hinted at two years earlier. Smith's tenure in the band was relatively short-lived (he would soon be replaced by Blue Mitchell), and his playing on this date is monstrous, making the discovery of this long-lost, incendiary live set that much more significant. Smith's soloing here is economical yet full of panache, and when he and Cook meet up the sound radiates both coolness and fire, as paradoxical as that may seem. Taylor and Hayes are the model for small group jazz, tight but always one step ahead. And Silver, of course, is pure mastery throughout. There are only four tunes performed here, two of them, "Cool Eyes" and "Señor Blues," are the highlights of the 1956 masterwork. The latter closes out the set and never lets up: Silver, in his extended, perfectly realized solo, buries himself deep within the melody, explores its every nuance, peeks outside of it, and finds his way back in. The saxophone and trumpet offerings are thrill-packed and the bassist and drummer make sweet but dynamic statements. "Tippin'," which opens the show, had, improbably, been the B-side of a 45 rpm single, but here it's a grand tribute to the art of the groove, an exercise in funk long before that term became ubiquitous. It swings madly, lyrical and vibrant, reminding once again why Horace Silver has been, for more than 50 years, one of the defining names in jazz piano, as well as a bandleader who always knew how to get more out of his crew. Silver's only official live recording, Doin' the Thing (At the Village Gate), would be released in 1961, three years after this Newport date, making this the earliest complete Silver live show in circulation. Which pretty much says all that needs to be said.

Did you spot the pathetic error?

Uh, Hank Mobley played tenor on Six Pieces of Silver. What an f-ing moron.

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Silver's only official live recording, Doin' the Thing (At the Village Gate)

That's not true either.

f57743feyik.jpg

c933902f5mf.jpg

Also there's a "Live 1964" (with Joe Henderson & Carmell Jones), and "Natives are Restless Tonight", both on Emerald. There's also something called "On Tour" from 1986, on Silveto.

So that's 5 other live recordings that have been officially released.

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Aggie: those are not official (as in issued by a "label") recordings but private or radio tapes issued by Horace himself.

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Aggie: those are not official (as in issued by a "label") recordings but private or radio tapes issued by Horace himself.

Silveto wasn't a "label"?

And the Paris concert was issued by Fantasy, and I'm pretty certain that's a "label".

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Aggie: those are not official (as in issued by a "label") recordings but private or radio tapes issued by Horace himself.

Dan's right - the Paris set is on Fantasy. And Re-Entry is on 32 Jazz.

The other three are on Emerald & Silvetto, which are Horace's labels. But I'd still consider them officially, legitimately released live recordings.

All of which contradicts the "only official live recording" claim regarding "Doin' the Thing".

Edited by Aggie87

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With the announcement today that EMI (owner of Blue Note) is planning to slash their staff in half tomorrow, I have to wonder if these "small fry" releases that Blue Note has planned will even happen.

I don't see these beancounters giving a guaranteed low-selling Jazz release the go. I wonder if there will be a Blue Note after tomorrow?

Anybody know if there's still a Blue Note?

I wished them luck in a mail regarding a proposition for a Mosaic Select, and in his recent (well probably two weeks by now) reply, MC said they didn't know anything about their future yet... I guess it takes a while to evaluate things and decide how to milk that cow...

Mosaic has obviously been milking a lot of other cows for a long time. They aren't an EMI property, so I'm sure their future is fine. They really do need to get on that Braxton Arista set, though!

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With the announcement today that EMI (owner of Blue Note) is planning to slash their staff in half tomorrow, I have to wonder if these "small fry" releases that Blue Note has planned will even happen.

I don't see these beancounters giving a guaranteed low-selling Jazz release the go. I wonder if there will be a Blue Note after tomorrow?

Anybody know if there's still a Blue Note?

I wished them luck in a mail regarding a proposition for a Mosaic Select, and in his recent (well probably two weeks by now) reply, MC said they didn't know anything about their future yet... I guess it takes a while to evaluate things and decide how to milk that cow...

Mosaic has obviously been milking a lot of other cows for a long time. They aren't an EMI property, so I'm sure their future is fine. They really do need to get on that Braxton Arista set, though!

We can hope for another Norah Jones-type 9,000,000 sales go-rilla for them, to pay the bills for the reissues. There's still at least a half-dozen titles from their heyday that haven't been re-reissued as RVG's :-)

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With the announcement today that EMI (owner of Blue Note) is planning to slash their staff in half tomorrow, I have to wonder if these "small fry" releases that Blue Note has planned will even happen.

I don't see these beancounters giving a guaranteed low-selling Jazz release the go. I wonder if there will be a Blue Note after tomorrow?

Anybody know if there's still a Blue Note?

I wished them luck in a mail regarding a proposition for a Mosaic Select, and in his recent (well probably two weeks by now) reply, MC said they didn't know anything about their future yet... I guess it takes a while to evaluate things and decide how to milk that cow...

Mosaic has obviously been milking a lot of other cows for a long time. They aren't an EMI property, so I'm sure their future is fine. They really do need to get on that Braxton Arista set, though!

Actually, Mosaic is partly-owned, if I remember correctly half-owned, by EMI.

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Unless something has changed recently, Capitol (an EMI subsidiary) has a 50% equity stake in Mosaic.

Edited by J Larsen

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yes, and the concern I expressed was also just for the position of the people involved... I guess MC earns more from his work for big labels than from running Mosaic, so...

as for the Braxton Arista, I'd be all for it!

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yes, and the concern I expressed was also just for the position of the people involved... I guess MC earns more from his work for big labels than from running Mosaic, so...

as for the Braxton Arista, I'd be all for it!

Agreed. I wonder if it is really that difficult to pull together sets of sessions post-1970, as opposed to pre WWII jazz. I would think there would be an audience for a Braxton Arista, or an AIR RCA select set, at least ass much if not more than a Boogie Woogie Piano Select.

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Silver's only official live recording, Doin' the Thing (At the Village Gate)

That's not true either.

f57743feyik.jpg

c933902f5mf.jpg

Also there's a "Live 1964" (with Joe Henderson & Carmell Jones), and "Natives are Restless Tonight", both on Emerald. There's also something called "On Tour" from 1986, on Silveto.

So that's 5 other live recordings that have been officially released.

I have the Paris Blues album and it's quite good.

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Paris Blues is a nice album, I can't listen to it much though because the treble is jacked so high. I bought it from emusic a few years ago

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What I meant was these were not issued by regular labels during the day's they were recorded. But of course if you count reissues on "labels" who leased the masters as a real lable issue be my guest.

Edited by Bluerein

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What I meant was these were not issued by regular labels during the day's they were recorded. But of course if you count reissues on "labels" who leased the masters as a real lable issue be my guest.

They aren't "reissues" if they were not released at the time. And they are certainly "official" if Horace gave his approval, for instance, to the Paris Blues recording, which I am sure he did.

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I was only disputing the statement that "Doin the Thing" is Horace's only official live recording.

All of the others were legitimately released on labels, whether it's on a "real" label (like Fantasy or 32 Jazz), or on Horace's own label, like the ones on Emerald or Silveto. None of the above are bootlegs.

They may be "archival" releases, which may be what you're referring to, since they weren't released back in the 50's or 60's or whenever. But if you argue that an archival release isn't a legitimate release, where does that leave things like Coltrane's "One Up, One Down", or the Dizzy/Bird Town Hall release on Uptown?

It's not really that big a deal though, more live Horace is certainly welcome.

Edited by Aggie87

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I think the point is, or at least should be, whether the label actually recorded it (as opposed to later acquiring various tapes and releasing them).

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Swinging Swede: exactly!! Thanks for strucuring my thoughts and putting it in propper English!

And Dan: keep on looking for "mistakes" in my writing!

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complete Blue John sessions

complete Lou Donaldson "The Scorpion" live recording

the Harold Vick songs w/Patton that never came out.

Get back Rare Grooves...dug all the sessions previously mentioned for that...maybe add some Ronnie Foster to the list.

More organ stuff that's not Jimmy Smith...

Also want to add Reuben Wilson's "On Broadway" and "Set Us Free" LPs to the list of wants...

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