Chuck Nessa

Thank god (or who-ever) for small favors. This is the current (last 25 years) home town of Roscoe Mitchell! I lived there in the early '70s and liked it alot, in spite of having to replace my store's front windows every 90 days.

It does not make him unique, but Tal had a great techinque and very interesting ideas of how to use it. The trios/quartets with Eddie Costa are wonderful but don't limit your listening to them. He's a MF!

If you are REALLY checking out jazz guitar, don't ignore Tal Farlow and Jimmy Raney.

So was this "sympathy shopping" brought on by RainyDay?

You gonna have a tough crowd in Austin. Good luck!

the bastards!

I'm in the middle of filling my shopping cart at Berkshire but will stop now and finish it when I get back from Chicago. Gotta go hear the AEC.

Bev, following you off topic I suggest you search out the 10 conducted by Mark Wigglesworth. This was one of those "freebies" with the BBC Music mag a few years ago.

Good luck. If it is any consolation, you made me smile.

"Blumine" is quite touching in the proper context. By that I mean the original 1893 version of the symphony. The well known edition of Mahler 1 is a later reorchestration. The 1893 version is lighter sounding (and the orchestra is smaller) and contains a number of startling effects. In the introduction the clarinet fanfares are played by the horns and in the funeral march the solo bass is doubled by cello. At the very end of the work the drum roll is twice as long. Anyway, I think the movement "works" better in this version. None of my favorites have been mentioned yet: Horenstein/VSO 1953 Horenstein/LSO 1969 Guilini/CSO circa 1969 Walter/NYP 1954 and for the 1893 version; Wyn Morris/New Philharmonia circa 1970

Somewhere I have a Moody like that. On the same paper are Dizzy, Lalo Schiffrin, Chris White and Rudy Collins. I have another sheet with Basie, Freddie Green, Frank Foster, Marshall Royal, Henry Coker, Buddy Catlett and some others I can't remember.

Looks like most of you (younger folks) listened to crap.

So I have to pay the price for the "crimes" of Universal? Guess I have to put it down to "the greater good". Thanks. Maybe in my next life I'll be a "hard ass". God bless Herman Lubinsky. I do think my previous scenerio solves some of these problems. edited to correct a typo

hardbopjazz asked the question. he mentioned Walter Davis, Jr. I asked what he had. he just keeps throwing out names. Tine to 'fess up or buy some sides. Threads like this drive me nuts.

Thanks RDK for posting this stuff. Certainly I have known this stuff (and/or the thesis presented) for a long time. I am amazed at the lack of response from the PD fans. Maybe they feel a bit guilty for their cheap cds, maybe not. Maybe they hope this discussion will die and they can enjoy their cds. Where is Bev? It has been a day now. Time to collect your thoughts.

I've been away a while. Wha's up? What does it all mean? Who you? AND I do understand I just spent multiple posts in one message?

Strange group to choose from. Is this some misguided marketing research project?

Come Go With Me by the Dell Vikings and Keep A Knockin' by Little Richard.

Not sure what Jim is saying. I'm saying I'm thankful for the stuff Lubinsky recorded. Nobody else was doing this at the time and as a result he was able to make deals "very much in his favor" with artists no one else cared about. BUT the artists made the deal and as a result you have all those Savoy reissues. I might have done things different, but..... Like I said..................

Jim! You need to know our son will be 34 in 3 weeks and or daughter turned 30 about a week ago. NOW, I lose more sleep now than when they were babies.

Please see my recent message in the "Blue Harlem" thread. AND thank god for Herman.

Can anyone, someone, please, including an English schoolteacher explain why real property can be protected forever and intellectual property has limits? My cynical answer is MONEY! So why the whining when someone with money (Disney) finally exerts a defense of intellectual rights? Outfits like Proper and JSP can issue cheap sets 'cause they don't have to pay anyone and big "unfeeling" corps like BMG, EMI, etc. do. You may bitch about the amount paid to the artists at the time, but this is the deal the artist made to get the date. Contracts are contracts, but sometimes they are amended. I know Lundvall gave all BN leaders a royalty deal, whether the original contract called for it or not. Music publishing royalties are another thing. The song writer and/or the publisher gets money for each record sold. In the US the "statutory rate" is set by congress. It is currently $.085 for songs under 5 minutes and for songs longer $.0165 per minute. A Mosaic historical set with some thing like 25 tracks pays $2.12 per disc, per copy sold, just to the music publishers ( I used the Lang/Venuti set as an example). FYI, my original deal with the AEC guys in 1967 when they were not known by anyone, was union scale against a 5% royalty (based on recommended retail price). They also retained their own publishing rights. Over the the years this got bumped to 7%. When I cleared the "extra material" for the AE box, I bumped the future royalties to 10% AND agreed to pay them $25,000. To do this, I sold my record collection and borrowed $35,000 against my house. Now, in 13 years I get to look forward to the likes of Joop Visser issueing this stuff for free, EXCUSE ME.

ah yes! Ah yes, Zora the Red Menace. Must be a commie thing.

I heard bits of it on Fresh Air today. It sounded worth checking out.

It's one of those "vanity" labels.