Chuck Nessa

I thought these things were made to be played. WTF!

Chained was the last Lion session. The rest were by Frank living up to Alfred's expectations. Things did get messy.

Snow is God's way of telling you to go back inside, play your favorite jams and watch the miracle from the sky.

THAT'S GOTTA BE THE BROAD AND I'D LIKE TO THROW HER ACROSS THE TOP OF A PIANO AND.........SHE'S HOT!!!!!!!! Forgive me, an evil spirit overtook me for a minute.

My only comment is I think a 3 day warning (before going public) is too short.

Jimmy McPartland on repeat mode.

This record has a even greater history of change. It was Hard Driving Jazz in mono and Stereo Drive in stereo. The first version of Coltrane Time was in the UAJ series with the b/w shot of Trane and was reissued on Solid State with a different color shot.

Be very careful. I don't remember the details but my daughter discovered you loose some "government protections" with some of these plans.

http://www.jazzrecords.com/jazzbooks/disco1.htm

The printer of the boxes stamps the numbers on the boxes, the cartons of boxes are shipped to the pressing plant, day laborers at the pressing plant assemble and recarton the product, put it on a truck and ship it to Mosaic. I wonder what the order the boxes is? Random? BINGO! BTW, I ordered the John Patton Select a month (or so) after the release and I got set number 0006.

Give him an emema and bury him in a shoe box.

Geez!

No Shit!!!!!

Just remembered this story from 25+ years ago. Dexter Gordon to Michael Cuscuna - "What's the deal with Alan Bates?". MC starts "Well, he's a tenor player" and Dex cuts him off, laughing and says "Say no more, that explains everything".

I've been trying to sort this out since 1965 or maybe 64.

This has been discussed before (at least twice - maybe more since memory fails old farts) but one of the people running Water/4 Beards/etc is Patrick Roques. For the "vague", Patrick is the guy doing the Reid Miles inspired covers for a bunch of the Blue Note Conns. EMI's name is on the discs to show origin (no it's not a boot) and a requirement of the lease. In the last 25 years it has also become SOP for the master owner to control manufacturing of licensed masters. Mosaic BN reissues are pressed by EMI and the Universals by Universal. This is to insure an accurate count of units manufactured. Everyone should relax and enjoy what they will.

Just to add to the confusion, I noticed my Earl Hines/Paul Gonsalves lp on French RCA/Freedom has a Black Lion number (BLP 30153). "Real" Freedom releases were in the FLP 40000 series.

Gene Bertoncini and Michael Moore made some very nice records.

That was the original English cover. A different cover was designed for the US market.

This is going to be messy – I’m in a hurry and this what pops into my head. Random observations of Bates/Black Lion/Freedom, etc. Early ‘60s Bates produces sessions and leases them to Polydor, Fontana and maybe more labels. He begins acquiring masters from other labels and producers – Debut titles, stuff from Stanley Dance, Chris Albertson, etc. The Polydor relationship evolves into a Black Lion series on the Polydor label. In this case both Polydor and Black Lion item numbers are printed on the sleeves. At the end of the ‘60s Bates starts Freedom imprint to release more “modern” titles. These are initially distributed by Polydor as well. Black Lion and Freedom were part of his “parent corporation” called Phonoco. Not sure when Phonoco was formed. At some point Bates started licensing/distributing the material to different companies in different markets – Intercord in Germany, RCA in France, Audio Fidelity (Black Lion only) in the US, Arista (Freedom only) in the US, etc. There must have been some trademark problem in France since all the RCA issues were on the Freedom label, including Earl Hines and Dexter. After the Polydor deal ceased he started manufacturing and distributing his own stuff in GB as well. At some point he began a distribution arrangement with DA in Germany and somehow they wound up owning the labels and masters. Separate from his Phonoco operations, he acquired the Candid jazz masters and began producing new releases for the imprint.

If I have time today a bit of digging should provide a basic outline for some of this stuff.

Why not use primary sources Alan and Michael?

I think that's what you wrap around that bald spot.

BAN DAN!

Have not heard the show but gotta say I find it sad Tesser has to put up with Ruffin's crap - not that Neil's a genius but he's a reasonably bright guy with good instincts. He must be hoping for an Ebert and _____ kind of thing. Ruffin is a fool. Edit to say: Tesser is a REALLY bright guy who lets his mouth get ahead of his thoughts at times. I wish he was "more thoughtful".