JETman

Let me introduce you to sarcasm.

Most definitely not. "Suck it up and deal with it" is what I say.

What? Nobody who has heard it wants to provide a transcription of the moans?

Finally! Someone who doesn't feel he DESERVES to have his every whim satisfied.

These are all Dreyfus dates!

Never mind... the drama queens isn't us, it's the effin' music biz zecs who slept too long and now try desparately to save their own asses by selling silly gimmicks! I'm sensing a definite sense of entitlement here. Excuse me if I don't shed any tears.

Some of those albums recorded in the 80s with the likes of Wheeler, Smitty, Coleman and the vastly underrated Kevin Eubanks were killer. Who says that music has to approximate the loft style free jazz of the 70s to be modern and creatively improvised?

I hope you held each other to make it all feel better.

Didn't know they rollerskated in Israel!!!

Smokin' the Phils!!!

Then don't, but why can't you NOT do it without getting agitated and acting like a drama queen?

Yeah, I get you both. But here's the thing: too often these general announcement type threads turn into whinefests about what we aren't getting instead of giving thanks that reissues are still happening to at least some degree. At least if a reissue program is ongoing, there's always a chance you might get what you want at some point in the future. You always have the option not to buy. It's up to the manufacturer to intepret such an act however they wish to interpret it.

It might, but if they continue to charge your credit card at the time of order placement, rather than at time of shipment, I'm out.

I've had a couple of shaky experiences with MovieMars, but Newbury and ImportCDs have been great, and I've ordered a dozen CD's from Newbury and I'm sure over a hundred from ImportCD's. Same with me. MovieMars takes a bit too long to fill orders. When I ordered a few about to go out of print RVG's last year, they sent me RVG's from the UK instead. No biggie, but I don't fully trust them, and will only order from them absent other reasonable choices. Caiman -- that's a whole other story. NEVER again will I order from Tower!

Well, the fact that they are NOT pulling the plug should tell you that there is a group of enthusiasts out there that still buy these, and this group is MUCH larger and far more important than us! So....what's the use in complaining? You MUST be joking, right? To answer your question, it's Don Cheadle.

Geez, with all this complaining, it's a wonder that Sony doesn't pull the plug entirely on Miles reissues. At least if they don't, there's still hope that all y'all might see things like Plugged Nickel and OTC boxes again.

No problem. Yes, it would

So am I. Have they actually started producing it yet?

But the Brew boxes will contain the long sought after original mix on cd, plus a few extras! It's not all bad.

http://www.milesdavis.com/us/news/miles-davis-84th-birthday-may-26-2010-celebrated-box-set-cddvd-releases-website-redesign-museum

Boy, you really do have alot of time on your hands! While I appreciate your analysis, I respectfully disagree with alot of what you say. I, for instance, see very little redeeming value in the soulful sound of CTI with lush strings, orchestral backdrops and such. I'm not one who sees greatness in people like Joel Dorn and his application of the "Philly soul" sound to the creative music genre. Joe Fields deserves some credit for his work in the industry, but loses that credit for how he presented labels like Muse. As a matter of fact, I tend to value his more recent work with his Savant and High Note labels. If only he would stop going back to Englewood Cliffs!

By Chicago I meant, here, some small-instrument style percussion, a multi-instrument approach, and use of 'space'. None of the pure surrealist whackiness of some paragraphs of early Art Ensemble, but a connection all the same. I'd say a commodified version of space/silence became one of the ECM trade-marks, and I had in the back of my mind John Litweiler's argument that the Art Ensemble migrated from its early and radical emphasis on space as it became more percussion (and entertainment) driven. I was reminding myself how early ECM was not yet 'ECM' and that these early Garbareks belong to the same label-world as Afternoon of a Georgia Fawn and The Music Improvisation Company, and I am making a suggestion that the evolution of ECM in some way occupies the same history of loss of an avant-garde moment in ways we sometimes lose sight of. I'm a cultural historian, what do you expect from me? Yeah, a lot of people only know the "ECM sound" once it had become that. But before that, the label released some really intense music, still recorded in a spectacular manner though. In fact one might make the case that there for a while, ECM & CTI were the yin & yang of post-free/post-rock "popular" jazz, with at least as many similarities as differences? What, pray tell, are the similarities? ECM has been in existence for 40 years. Did CTI make 4? Eicher never pushed an artist to record music he/she did not want to record. Look what Creed Taylor did to an artist like Jimmy Smith when he took over Verve. This type of stuff continued into the CTI years, unfortunately. The 70s were a time when jazz tried too hard to copy the commercial success enjoyed by rock. How did that work out? What it did was spawn labels like Muse, which while its heart was in the right place, produced some pretty crappily recorded sessions. None of these problems have ever affected ECM. Eicher, for all of his naysayers, has always stood by his vision. For that ECM deserves to be applauded, as it is now the oldest ongoing "creative music" label.

See this thread:

I preodered the Jamal, and was able to preorder the Carter/Bradford Select as well. According to Fred at Mosaic, they are being released at about the same time, with the Threadgill to follow about 2 months after those.

At the risk of turning this into a political thread, let me just say that I like Ike!