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I am not sure if the Los Angeles Jazz Institute (LAJI) CDs can be considered to be on a boutique label. The were issued in a limited quantity to members only and contained many unreleased sessions of West Coast jazz. The LAJI also released two box sets. In any case these CDs were West Coast jazz at its best.

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Did you try Fredericksberg records?

when I was about 39, I once met Mr Fleischhammer at a record fair... somewhere in a corner, he'd hidden the box with all his CDs, including that Brew Moore incredibly cheap, memory says 3 Euro... I bought quite a few of those CDs and said something like "why do you price them like this?" because I would have thought, there's no good reason to go below 5 or 6... the number of additional buyers you gain by reducing the price of an amazing Brew Moore cd from, say, 5 to 3 must be negligible... the ones who know, know, they may not be large in number, but... and he said something like "I wasn't even sure that whether it made sense to bring CDs to an LP-centric fair like this one"... I must have looked at him, like he came from the moon [which was probably not fair]... I am sure selling the stuff is not as much fun as it should be given the quality... but I don't quite trust his skills in assessing the market... the people who are now buying all those tonepoets are not from the "corresponding generation"

Yes “Tales from Topographic Oceans” Super Deluxe Edition. cd 4 of 12, the 2025 remix by Steven Wilson, sides 3 and 4.

I was going to mention Off The Record, but then realized that it is (or was) an imprint of Archeophone. Apologies if the initial post was a bit vague. Certainly labels such as Mosaic, Nessa, and Hep fit the definition, in terms of being small operations devoted to specialized jazz reissues and releases--it's just that their longevity and extensive catalogues almost make them "too big to be boutique" at this point. This is my anecdotal sense as well. There will be exceptions, of course (a few years ago it seemed a # of musicians in the improvisatory/avant-garde community were exploring a renewed interest in hot jazz of the 1920s), and young dancers often seek out music from the swing era. But once the living generations of artists and their fanbases are gone, the interest in the music seems to decline even more.

He observed the younger people under 35 he sees at his and neighbouring stands on the vinyl events show no interest in jazz before 1950 Maybe it is different in the US. It is a niche audience, for sure.

I have both those box sets, great releases.

What is the "corresponding generation"? Does he mean that each generation has its own list of prized vintage jazz reissues? Or that they just buy the jazz of their youth?

Defeated Sanity – The Sanguinary Impetus

I am not sure that is accurate...

I updated the entry in Discogs. Some software can use Discogs data to tag files automatically.

I have two of the Ben Johnston discs. Some of the most, if not the most, musical microtonal music I've ever heard. Truly beautiful. The Kepler Quartet dedicated so much time and energy to Johnston's writing. It paid off. Reference recordings.

Ernie Wilkins And His Orchestra – Here Comes The Swingin' Mr. Wilkins!

I love that one! One of the few cases where I am glad I got me a download long ago, as copies of the Japanese CD reissue are very expensive.

Ekkehart Fleischhammer of Sonorama Records told me the market for vintage jazz reissues seems to die out with the corresponding generation of collectors. He also deals with second hand vinyl and says noone buys this stuff anymore. There are tons of non-licensed fake reissues sold on the record fairs he visits, it isn't fun anymore. His least selling vault issue, btw. is the LP/CD with Brew Moore live and radio recordings. But the music is very good, Brew always swings more than the rest of the band!

This. And unfortunately, apart from the duets with Roberta Flack, he never crossed over to pop audiences the way he should have. The Live LP did OK (#18) on the pop charts, but everything else inexplicably stiffed. BTW, these are great 4 CD set basically containing his full Atco output including a lot of unreleased material:

Next up:

Following @jazzbo's lead & listening to some George Russell:

tonight at Roulette in Brooklyn Zosha Warpeha solo on hardanger fiddle followed by Michael Foster with strings Michael’s strings band is incredible including undervalued musicians like Webb Crawford, Rocio Sanchez & the amazing Nava Dunkelman. The wondrous Zosha is also in the ensemble.

George Russell “The Stratus Seekers” Riverside/OJC cd 430×430 26.4 KB Followed by Count Basie Orchestra “Montreux '77” Pablo/OJC cd

Yes, but not professionally. As a matter of interest, Charles did not "grow restless" with his quartet. Earl Cross left for Europe late in 1977 with his partner Suzanne Marcus, who played clarinet and soprano sax. When Charles went to Scandinavia in 1981, he planned to link up with Earl again. And so we have 'Definite' I have approached numerous companies I thought might be interested in Charles' music, without success. Tho nobusiness without permission did release Earl's music ! It may be Charles' complicated family situation may have been a problem.