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Hank Mobley - The Feelin's Good


Tom 1960

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I wasn't aware of much outside of knowing about a few SACD or XRCD issues, so it was good information. Will an audiophile label issue an album like "Song X" or "Special Edition"? Probably not.

Well, posting that audiophile labels were hardly releasing Blue Note and Prestige albums while the opposite is true isn't good information in my view.

I wasn't aware of much outside of knowing about a few SACD or XRCD issues, so it was good information. Will an audiophile label issue an album like "Song X" or "Special Edition"? Probably not.

Well, posting that audiophile labels were hardly releasing Blue Note and Prestige albums while the opposite is true isn't good information in my view.

What I meant there Hans was reissues of things going pretty into outside as far as BN reissues. As an example, "Unity" while structurally challenging, is still fairly inside, compared to a record like Jack DeJohnette's "Special Edition" which goes pretty outside at times. An audiophile label will not touch that, necessarily. That and it's very well recorded/mastered to begin with.

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Hmm, aren't those alternates from "Up at Minton's" lost like the JOS "Club Baby Grand" outtakes? I would have liked to hear those also? Back in the Mosaic prime years a Complete One Night With Blue Note would have been nice too.

I was told by Cuscuna that all that they have from Turrentine's Minton's recording dates are the released tunes. No master tapes exist as far as he knows. If someone has a "private" tape with more, it's more than Blue Note has.

FWIW, Lee Morgan's "Lee Way" is in the same boat. No master session reels. What we got is what we can get.

Hmm, aren't those alternates from "Up at Minton's" lost like the JOS "Club Baby Grand" outtakes? I would have liked to hear those also? Back in the Mosaic prime years a Complete One Night With Blue Note would have been nice too.

I was told by Cuscuna that all that they have from Turrentine's Minton's recording dates are the released tunes. No master tapes exist as far as he knows. If someone has a "private" tape with more, it's more than Blue Note has.

FWIW, Lee Morgan's "Lee Way" is in the same boat. No master session reels. What we got is what we can get.

Kevin, it seems a lot of masters for Blue Note sessions were not kept. Dolby copies from the 70's I recall reading in some cases. I would assume that for sessions like "The Jazz Messengers at the Cafe Bohemia" those were the masters, the previously unissued takes sounded in better shape than the album take masters at least on the RVG's. Though I think the RVG's helped the mid 50's Blakey material.

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So was it a random thing that some masters were kept and not others. And how come we seem to have fairly comprehensive session information for a live date like Mintons. Was this info recorded at the time of the gig, and then the album(s) compiled for release and the session tapes discarded?

On the other hand, when Blue Note released Grant Green's Alive session, the unissued tracks were available, so I guess what's there is on a case by case basis.

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So was it a random thing that some masters were kept and not others. And how come we seem to have fairly comprehensive session information for a live date like Mintons. Was this info recorded at the time of the gig, and then the album(s) compiled for release and the session tapes discarded?

On the other hand, when Blue Note released Grant Green's Alive session, the unissued tracks were available, so I guess what's there is on a case by case basis.

You will never see unreleased stuff released by a boutique label before you would see it on Blue Note itself. Given that Blue Note is out of the reissue business, it's time to officially give up hope.

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So was it a random thing that some masters were kept and not others. And how come we seem to have fairly comprehensive session information for a live date like Mintons. Was this info recorded at the time of the gig, and then the album(s) compiled for release and the session tapes discarded?

On the other hand, when Blue Note released Grant Green's Alive session, the unissued tracks were available, so I guess what's there is on a case by case basis.

You will never see unreleased stuff released by a boutique label before you would see it on Blue Note itself. Given that Blue Note is out of the reissue business, it's time to officially give up hope.

i was wondering though, how far this label (Music Matters) are prepared to go re- unreleased stuff. Seen as they are prepared to make their own albums now. Perhaps if the numbers add up and they see a potential release, they might lobby for it?

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So was it a random thing that some masters were kept and not others. And how come we seem to have fairly comprehensive session information for a live date like Mintons. Was this info recorded at the time of the gig, and then the album(s) compiled for release and the session tapes discarded?

On the other hand, when Blue Note released Grant Green's Alive session, the unissued tracks were available, so I guess what's there is on a case by case basis.

You will never see unreleased stuff released by a boutique label before you would see it on Blue Note itself. Given that Blue Note is out of the reissue business, it's time to officially give up hope.

i was wondering though, how far this label (Music Matters) are prepared to go re- unreleased stuff. Seen as they are prepared to make their own albums now. Perhaps if the numbers add up and they see a potential release, they might lobby for it?

Read my previous post. It will NEVER happen. Time to stop being a "fanboy" and start being realistic. Do you really think a label of origin would allow a licensing label to steal its thunder???????????

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So was it a random thing that some masters were kept and not others. And how come we seem to have fairly comprehensive session information for a live date like Mintons. Was this info recorded at the time of the gig, and then the album(s) compiled for release and the session tapes discarded?

On the other hand, when Blue Note released Grant Green's Alive session, the unissued tracks were available, so I guess what's there is on a case by case basis.

You will never see unreleased stuff released by a boutique label before you would see it on Blue Note itself. Given that Blue Note is out of the reissue business, it's time to officially give up hope.

i was wondering though, how far this label (Music Matters) are prepared to go re- unreleased stuff. Seen as they are prepared to make their own albums now. Perhaps if the numbers add up and they see a potential release, they might lobby for it?

Read my previous post. It will NEVER happen. Time to stop being a "fanboy" and start being realistic. Do you really think a label of origin would allow a licensing label to steal its thunder???????????

Actually. if they think there is more money to be made by franchising the catalogue out, including anything unreleased they probably would, in this day and age. I mean, so much of the Mosaic sets were out a good few years before the previous/latest incarnation of Blue Note prepared their own more user friendly versions. I guess the big point at this stage of the history, is really about whether any more so called 'rejected' sessions or tracks will see the light of day, as the changing of the 'gatekeeper' guard takes place in the future. Will they be made available to 'interested parties' to hear via electronic media, as has been suggested on this board in the past? Probably not.

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So was it a random thing that some masters were kept and not others. And how come we seem to have fairly comprehensive session information for a live date like Mintons. Was this info recorded at the time of the gig, and then the album(s) compiled for release and the session tapes discarded?

On the other hand, when Blue Note released Grant Green's Alive session, the unissued tracks were available, so I guess what's there is on a case by case basis.

You will never see unreleased stuff released by a boutique label before you would see it on Blue Note itself. Given that Blue Note is out of the reissue business, it's time to officially give up hope.

i was wondering though, how far this label (Music Matters) are prepared to go re- unreleased stuff. Seen as they are prepared to make their own albums now. Perhaps if the numbers add up and they see a potential release, they might lobby for it?

Read my previous post. It will NEVER happen. Time to stop being a "fanboy" and start being realistic. Do you really think a label of origin would allow a licensing label to steal its thunder???????????

Actually. if they think there is more money to be made by franchising the catalogue out, including anything unreleased they probably would, in this day and age. I mean, so much of the Mosaic sets were out a good few years before the previous/latest incarnation of Blue Note prepared their own more user friendly versions. I guess the big point at this stage of the history, is really about whether any more so called 'rejected' sessions or tracks will see the light of day, as the changing of the 'gatekeeper' guard takes place in the future. Will they be made available to 'interested parties' to hear via electronic media, as has been suggested on this board in the past? Probably not.

Blue Note and Mosaic are owned by virtually the same people. So, Mosaic releasing "unreleased" BN sessions IS the same as Blue Note releasing them.

In the future, if there is a "changing of the guard" as you say, very few people will be interested in hearing the sessions you cite. All jazz fans will be long gone.

Give up the ghost. There are literally tens of thousands of other jazz recordings for you to obsess over.

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thank jah for that - I wish I had all the great Blue Note sessions I no longer have - I buy them when I can - but alas I am glad I am not a collector....

but I like to mostly buy music by living artists - often the ones I go see play live

So was it a random thing that some masters were kept and not others. And how come we seem to have fairly comprehensive session information for a live date like Mintons. Was this info recorded at the time of the gig, and then the album(s) compiled for release and the session tapes discarded?

On the other hand, when Blue Note released Grant Green's Alive session, the unissued tracks were available, so I guess what's there is on a case by case basis.

You will never see unreleased stuff released by a boutique label before you would see it on Blue Note itself. Given that Blue Note is out of the reissue business, it's time to officially give up hope.

i was wondering though, how far this label (Music Matters) are prepared to go re- unreleased stuff. Seen as they are prepared to make their own albums now. Perhaps if the numbers add up and they see a potential release, they might lobby for it?

Read my previous post. It will NEVER happen. Time to stop being a "fanboy" and start being realistic. Do you really think a label of origin would allow a licensing label to steal its thunder???????????

Actually. if they think there is more money to be made by franchising the catalogue out, including anything unreleased they probably would, in this day and age. I mean, so much of the Mosaic sets were out a good few years before the previous/latest incarnation of Blue Note prepared their own more user friendly versions. I guess the big point at this stage of the history, is really about whether any more so called 'rejected' sessions or tracks will see the light of day, as the changing of the 'gatekeeper' guard takes place in the future. Will they be made available to 'interested parties' to hear via electronic media, as has been suggested on this board in the past? Probably not.

Blue Note and Mosaic are owned by virtually the same people. So, Mosaic releasing "unreleased" BN sessions IS the same as Blue Note releasing them.

In the future, if there is a "changing of the guard" as you say, very few people will be interested in hearing the sessions you cite. All jazz fans will be long gone.

Give up the ghost. There are literally tens of thousands of other jazz recordings for you to obsess over.



good point JETman

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thank jah for that - I wish I had all the great Blue Note sessions I no longer have - I buy them when I can - but alas I am glad I am not a collector....

but I like to mostly buy music by living artists - often the ones I go see play live

So was it a random thing that some masters were kept and not others. And how come we seem to have fairly comprehensive session information for a live date like Mintons. Was this info recorded at the time of the gig, and then the album(s) compiled for release and the session tapes discarded?

On the other hand, when Blue Note released Grant Green's Alive session, the unissued tracks were available, so I guess what's there is on a case by case basis.

You will never see unreleased stuff released by a boutique label before you would see it on Blue Note itself. Given that Blue Note is out of the reissue business, it's time to officially give up hope.

i was wondering though, how far this label (Music Matters) are prepared to go re- unreleased stuff. Seen as they are prepared to make their own albums now. Perhaps if the numbers add up and they see a potential release, they might lobby for it?

Read my previous post. It will NEVER happen. Time to stop being a "fanboy" and start being realistic. Do you really think a label of origin would allow a licensing label to steal its thunder???????????

Actually. if they think there is more money to be made by franchising the catalogue out, including anything unreleased they probably would, in this day and age. I mean, so much of the Mosaic sets were out a good few years before the previous/latest incarnation of Blue Note prepared their own more user friendly versions. I guess the big point at this stage of the history, is really about whether any more so called 'rejected' sessions or tracks will see the light of day, as the changing of the 'gatekeeper' guard takes place in the future. Will they be made available to 'interested parties' to hear via electronic media, as has been suggested on this board in the past? Probably not.

Blue Note and Mosaic are owned by virtually the same people. So, Mosaic releasing "unreleased" BN sessions IS the same as Blue Note releasing them.

In the future, if there is a "changing of the guard" as you say, very few people will be interested in hearing the sessions you cite. All jazz fans will be long gone.

Give up the ghost. There are literally tens of thousands of other jazz recordings for you to obsess over.

good point JETman

I'm beginning to feel an extreme need to point out the obvious to those here who let their fetishes shrink the volume of grey matter in their heads to a bare minimum.

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I actually own the cd. It is very well recorded, and there are some great horn solos on there in my estimation. And what Clapton contributes doesn't offend me or make me feel like he's totally out of place.

Duh?

[This is a very slow double take - I had to read all of the previous page to check :)]

MG

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  • 4 weeks later...

Joe Harley (one of the people in charge of Music Matters) has said on the Hoffman board that there are a few criteria they use when they choose what to reissue- do him and his brother (Ron) think the session is good musically. Will it be something that will sell well, remember these are $50 each. In some instances they have reissued albums they felt are exceptional, but caused some backlash from subscribers (ie Out to Lunch, Evolution, Destination Out!). And are the tapes in good condition/is the sound quality acceptable, though this is a secondary thought as they've released many lesser sounding titles.

Overall looking at their catalog they have released plenty of adventurous titles beyond the scope of what has been released in the past. They've always said they aren't trying to recreate replicas of old reissues, so cover art differs in some cases.

He has said he is not a fan of soul jazz. That's why there aren't many soul jazz titles. Chad Kassem (Analogue Productions, Acoustic Sounds) is a big soul jazz fan so his company has released lots of those Blue Note albums on 45 rpm LP and SACD.

You can email Joe through their website. I haven't communicated with him recently, but he has promptly replied to my queries in the past.

Unrelated to Music Matters, but it looks like EMI are archiving their Blue Note tapes in 32 bit/ 192 khz digital so hopefully many of these lesser known sessions will be available as downloads in the future, where the risk should be less than a physical product. I too would be ecstatic to see Natural Essence reissued.

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i dont think ive seen that cover photo, so this is a comp?

It's the same as the original "Straight No Filter" CD released in the late 80s. It's not the same as the LP of "Straight No Filter" so Music Matters decided to give it a new name & cover.

Remember, when "The Turnaround". "Straight No Filter" and "No Room For Squares" were first released, Michael Cuscuna put the music onto CD in session order, which was very different from the original LPs. When they reissued these CDs (two in the RVG series and one in the Connoisseur series), they reverted back to the LP sequence.

The thing I really don't get about Joe Harley's decision here is that he already reissued the original LP version of "No Room For Squares", which has two tunes that will be reissued on this new double LP. Why not just reissue the original LP sequenced version of "Straight No Filter"?

Anyone who bought Music Matters version of "No Room For Squares" already has two of the tunes and when you're talking about a 45 rpm release, that's almost two LP sides.

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i dont think ive seen that cover photo, so this is a comp?

It's the same as the original "Straight No Filter" CD released in the late 80s. It's not the same as the LP of "Straight No Filter" so Music Matters decided to give it a new name & cover.

Remember, when "The Turnaround". "Straight No Filter" and "No Room For Squares" were first released, Michael Cuscuna put the music onto CD in session order, which was very different from the original LPs. When they reissued these CDs (two in the RVG series and one in the Connoisseur series), they reverted back to the LP sequence.

The thing I really don't get about Joe Harley's decision here is that he already reissued the original LP version of "No Room For Squares", which has two tunes that will be reissued on this new double LP. Why not just reissue the original LP sequenced version of "Straight No Filter"?

Anyone who bought Music Matters version of "No Room For Squares" already has two of the tunes and when you're talking about a 45 rpm release, that's almost two LP sides.

AP did No Room For Squares. I agree MM should have released the original sequence of Straight No Filter

Edited by Deepak
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AP did No Room For Squares. I agree MM should have released the original sequence of Straight No Filter

Ah, darn, you're right. But no matter - once one of these companies put out "No Room For Squares" or "The Turnaround" using the LP sequence of tunes, all of them should come out that way or else you get duplication of tunes.

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AP did No Room For Squares. I agree MM should have released the original sequence of Straight No Filter

Ah, darn, you're right. But no matter - once one of these companies put out "No Room For Squares" or "The Turnaround" using the LP sequence of tunes, all of them should come out that way or else you get duplication of tunes.

Michael Cuscuna wrote the album notes for the Music Matters reissue of The Feelin's Good. I can't really glean any new information why it was released this way. My only speculation is they wanted to release an album with all the March 7, '63 material on a single album.

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Michael Cuscuna wrote the album notes for the Music Matters reissue of The Feelin's Good. I can't really glean any new information why it was released this way. My only speculation is they wanted to release an album with all the March 7, '63 material on a single album.

Which is exactly why he released "Straight No Filter" on CD this way the first time. They only reverted to LP order due to complaints.

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