Chuck Nessa

One thing you really need to understand is the "original cost". Gene worked for Elvin, probably got a good deal for the session and paid Elvin and the sidemen - say $10,000. I don't know the deal but the number is cheap for the "product". He spent another $3000 (we are talking 25 year old dollars) to issue the lp and sold a few - not near enough to recoup the money. Now you want him to give you the music for minimum wage plus "media" postage? Grow up.

Did I ask anywhere in my post what it "seemed" to you? I only asked for real information.

The asking price for the Jones is $15. Please write a budget - guess, since you seem to doubt my info. Artwork cost Film/transfer cost proof cost printing cost (how many do you print at what unit cost?) ship printing to pressing plant cost remixing/editing cost remix/editing proof mastering cost mastering proof shipping master to pp cost pressing cost jewel box/assembly/wrap cost shipping to your warehouse cost publishing royalty cost artist royalty cost Now that you have done that, please bill us for your time facilitating all the above, warehouse space, website cost, etc. Please give me a unit cost.

Look again. Write a budget.

Please 'splain this to me. Do you know the costs? Can you write a budget that makes the discs cheaper? I want to know. $20 a copy to re-issue a CD of material you own? What costs are you talking about re-mastering? New artwork? Pressing 1,000 copies. So $3,000-$4,000. Please, give me a break. The price I see for a finished cd is $15. Please (as I asked before) write a budget and don't forget to include a realistic estimation of sales along with some sort of timeframe so we can see the return on investment.

This REALLY belongs in the Political thread. The US has had cheap fuel and food so long the society does not really understand the costs and consequences. Count your lucky stars for the past and brace yourself for the future.

Please 'splain this to me. Do you know the costs? Can you write a budget that makes the discs cheaper? I want to know.

He did his job. What did you expect him to do? Not be a dick. Some of us here can't do that. Why would you expect it from him?

FWIW, Patrick Gleeson was an "employee" of mine in the early '70s. I was regional manager of a chain of record stores and he was a clerk in our store on 8th St in NYC.

I am really torn by this discussion. One thing that helps make the US a decent place to live is the adversary court system. The government (federal to local) has a larger burden as they should. I'm always disappointed by dissenters to this situation. We (as a civilization) may lose a few but we ultimately win as a result. We, as a society, win more from Cochran's victory.

Great idea for a thread. Don't forget Buddy Tate in this context, and no mention of Jack McVea - both transitional fingures but........... Now I hope the following doesn't highjack the thread, but I'm a big Julian Dash fan too and think it is a shame his MJR lp has not been reissued. I think it is a "classic". He's also a fine contributor (in tandem with Tate) to a Jay McShann date for MJR (this one is available). Now back the original topic.

No the more I think about it, 1981 seems correct.

Yes, one of each. I'm not certain about the date but it was at a Jazz Times convention in DC. Billboard covered the new contract in a big way - first time and all that crap.

Which one? Even his record company (Columbia) gave him 2 contracts at one time. Wasn't that Verve/Mercury? They might have done it too but I was at a place where Bruce Lundvall and Herbie were discussing the contract(s) they'd just signed. This was around '81.

Which one? Even his record company (Columbia) gave him 2 contracts at one time.

Sure. B-)

Can anyone post a "positive" message to this thread without all kinds of "qualifications"?

Do you really think so? "Houston, we have a problem".

Had 'em, didn't much care for them. What did you expect.

She was a "killer" club act. Saw her a couple of times in "confined quarters".

Oh!

Of what?

Chuck - do you mean all of Herbie's 70's output or just the funky Headhunters and onwards stuff? There is a world of difference between the Mwandishi band material (71-73) and the later albums. Not so much funk - but more a serious and highly evolved usage of electronics combined with world percussion and pretty avant-garde jazz. Its a unique period - documented on other albums such as Eddie Henderson's 'Realization' and 'Inside Out' sessions for Capricorn, Julien Priester's ECM album 'Love Love', Bennie Maupin's ECM album 'Jewel and the Lotus' and Norman Connors first 3 albums for Cobblestone. Very far removed from the fusion-funk of the mid-70's - this is ethereal stuff - a heady mixture of free-jazz, afro-centrism, new electronic musical technology and recording techniques. The whole Mwandishi vibe lasted just 2 years - the reasons for Herbie abandoning it are told in his sleevenotes to the recent Headhunters CD remaster. KD You did not mention a single piece of music in my collection. Sorry. PS: I have heard all this stuff - got promos of most of it and gave it away. Not proud, just factual.

Back in the '80s I was driving on the Kennedy Expressway (Chicago) and the guy next to me motioned to my roof. I exited asap and discovered my briefcase on top of the car. I had driven about 5 miles.

Yeah but that means you've performed with Bob Wilber too.