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The problem with ripping or duplicating a CD-R with a label unbalancing it is that most duplication processes do it at speeds >>1X, which exacerbates the problem.

Thanks for this writeup; it puts the album in a little more context. Maybe someday we'll get to hear it!

I merged @jimmyjrg 's topic with this one to get all of the interested parties in one place.

https://www.theideasletter.org/essay/a-pure-act-in-a-dirty-world/ I think this is a great interview and really stands out... enjoy! And IIRC there isn't a Matthew Shipp corner; maybe I'm a bit biased to start one, but someone should.

Thank you. I hadn't seen either of those books. That's interesting to know that the album was appearing in lists before Lord. @sonnymax Yes, I've been in touch with Dan. He motivated me to write this up so all of the information was collected somewhere.

RIP 'em first.

Just for the record, and in connection with the apearance of TRLP-18 in the Tom Lord discography, this album has earlier been listed in Jepsen's Jazz Records Vol. 5 (published in 1963) and in the discography by Walter Bruyninckx, both in the printed edition published in the 80s and in the somewhat more recent (and updated) digital version. The entries look like any normally released album. Jepsen and the printed edition of Bruyninckx forgot "Budo" in the track listing but this was corrected in the digital version of the Bruyninckx discography. It is likely that THIS is where Lord picked up his info. So it really seems like this album was "reputed" to exist for decades and decades and for a long time nobody ever made an effort to really check and set the record straight.

If you're searching for Jay, you should search this board as well. You'll find a member of this board has been looking and posting about this date for 10 years: Looking for Transition LP TRLP-18

I know there's a few Transition fans here, so I thought I'd share an article I wrote about the search for Jay Migliori's lost album for the label: https://medium.com/the-shadow-knows/searching-for-jazz-down-beat-jay-migliori-s-lost-album-50bcbdd56363 The short version is that I tried and failed to get in contact with Jay's widow or daughter to ask about the LP. I also contacted two labels who have issued other unreleased albums by Jay and they knew nothing about the Transition session. What I do know is the following: Group: Jay Migliori Quartet featuring Migliori (tenor sax), Tommy Ball (trumpet), Danny Kent (piano), Paul Morrison (bass), and Floyd Williams (drums). Recorded: 7 November 1955 in Boston Catalogue number: TRLP-18 Title: Jazz Down Beat Tracks: Bags’ Groove The First One Pat and the Lady Black Dog Let Yourself Go Budo Button for Butch Something’s Gotta Give The final track was released on the compilation album Jazz In Transition (TRLP-30). All of the information about the recording come from the TRLP-30 booklet.

Donald Byrd: Live In Boston, 1974 💣

That's a superior record!

FANTASTIC!!!

Yusef Lateef: Before Dawn. The Music of Yusef Lateef. Verve Elite Edition. Verve Records 314 557 097-2 [US 1998]

Jenny Scheinman: All Species Parade

I have that John Patton session on a Canadian CD from 2007.

The first 3 listed and Unbooted Character are only on the Queen Disc lp. The Deep South Suite is also on the MusicMasters 2 cd set, The Great Chicago Concerts, November 10, 1946 and January 20 1946. The Deep South Suite is performed only on the November 10 concert, and that Concert includes Django Rheinhardt. Live "Carnegie Hall", New York, November 23, 1946 The eighth veil Queen Disc (It)Q018 Golden feather - Flippant flurry - Golden cress V-Disc 742, Queen Disc (It)Q018, FDC (It)501, Collectors' Choice Music CCM3594 [CD], Classics (F)1015 [CD], Collection Hughes Panassie (F)CTPL002 [CD] Unbooted character Queen Disc (It)Q018 Sultry sunset V-Disc 742, Queen Disc (It)Q018, FDC (It)501, 1013, Cicala (It)BLJ8018, Collectors' Choice Music CCM3594 [CD], Classics (F)1015 [CD] Deep South suite Magnolias dripping with molasses V-Disc 750, Queen Disc (It)Q018, FDC (It)750, Collectors' Choice Music CCM3594 [CD], Classics (F)1015 [CD], United Archives (Eu)NUA07 [CD] Hearsay or Orson Welles V-Disc 750, Queen Disc (It)Q018, FDC (It)750, Collectors' Choice Music CCM3594 [CD], Classics (F)1015 [CD], United Archives (Eu)NUA07 [CD] Nobody was lookin' (de solo) V-Disc 759, Queen Disc (It)Q018, FDC (It)751, Collectors' Choice Music CCM3594 [CD], Classics (F)1015 [CD], United Archives (Eu)NUA07 [CD] Happy go lucky local V-Disc 759, Queen Disc (It)Q018, FDC (It)751, Collectors' Choice Music CCM3594 [CD], Classics (F)1015 [CD], United Archives (Eu)NUA07 [CD]

Basically I've also found that some brands of CD-R blanks last almost forever, some don't. Only problem ... you only find out afterwards (after years) which ones will last long and longer ... I still have quite a few CD-Rs burnt by (or for) me in the second half of the 90s that still play OK. Whereas others have failed after some 10 years. But to add another aspect to this discussion of CD-Rs becoming unplayable: As part of my haul from the estate of a deceased collector (metioned elsewhere - e.g in the jaz book thread) I recently took home a huge bunch of (real) CDs but also about 150 CD-Rs burnt for this chap by a fellow collector in (I guess) the years between 2005 and 2010, and very professionally done, including the inlays and printed labels. (At first sight they look like one of these cheapo PD label CDs.) BUT ... the labels on the earlier CD-Rs have started to peel off and are impossible to press back on - and just as impossible to remove. And it is these CD-Rs (about the initial 50 or so) of which many make nastily distorted noises when playing, as if the data are beginning to deteriorate (and some skip and jump to and fro or stop all of a sudden). But it seems the detached labels are the culprits. Don't know if it is the out-of-balance of the detached labels or the label glue penetrating into the data layer but the damage seems to be caused there. Because those where the labels are becoming detached round the edges fail most often. Whereas those among the later ones (when he seemed to have changed to a diffferent, glossier self-printed label that adheres perfectly well) that I've listened to so far do play perfectly well. At any rate, I'm seeing myself burning backup CD-Rs of the bunch before long.

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Sure. Me too. And others that are a decade old that are unplayable. Some dyes degrade more slowly. Storage conditions (temp and humidity) also contribute to how soon they fail. They might last 10 years, 30, 50 but CDRs are inherently unstable and ultimately will all fail at some point. No one is going to be playing them a hundred years from now. Whether that's a problem or not depends on what's on them I guess. Plenty of papers on this published by the Library of Congress, NIST and so on.

Frank Sinatra: Come Fly With Me. Capitol Records LCT 6154 [US 1958]

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December 18 Wadada Leo Smith - 1941

Paperback ordered! Looking forward to receiving it in January, and regretting that the preordered Pacific Jazz book by James Harrod will take some more time to arrive. It certainly wil be interesting to compare how these two major labels are covered. And I'll take the word of Allen Lowe (see below) that the Prestige book does not limit itself to the "usual suspects" of the biggest names only in covering the output of Prestige. At any rate, I'll have my copies of the Prestige discography by Michel Ruppli and of "The Prestige Book" (from the Japanese "Jazz Critique" series) within reach when digging into this new one. "When it comes to jazz, this is one of the rare books that we actually need, that does not cover the usual ground with the usual suspects. Prestige Records, for all the attention it has received from audiences, is not well known in the historical sense. Every jazz fan has these records, which is important, but few know the inside story, the complex process of the jazz independent label in the era before independent labels became as common as recording projects. And Tad Richards is the writer to do this, with a firm grasp of jazz's historical succession, the bebop era, and the musical needs of musician and audience. Read this book." — Allen Lowe,