David Ayers

Give us a chance! Enjoyed reading this and have some considerations of my own which it would take me some time to set out, so I'll be waiting for a spare moment. Meanwhile here's my latest book... darn, cut-and-paste doesn't seem to be working...

Wasn't this Fickle Sonance Rather than Capuchin Swing? Bertrand. Yes, you're right of course. However, the Capuchin Swing JRVG sounds a bit obtrusive. Jeff and others - thanks for your ecouragement! My disappointemnet did only last a few seconds and I'm certainly looking at it from the humorous side. What's funny is that she's almost always going for the McLean albums. The the nearby Mobleys are of no interest at all! Better artwork?

Hm yes, that U.S. list is interesting.

http://www.bbc.co.uk/newsbeat/17441921 Glad about this if only so that I don't have to hear that boring stat about DSotM any more.

Wanted to be there and just couldn't. Gutted.

Upcoming ECMs: Year of the Snake - Fly (Mark Turner, Larry Grenadier, Jeff Ballard) Saltash Bells - John Surman Wisteria - Joey Baron, Steve Swallow, Steve Kuhn Songs from the Alder Thicket - Gunilla Suessmann, Ketil Bjornstad The last one is a double. I know - 2CDs - how exciting!

If he had a royalty deal (not likely) with Verve, Universal would be on the hook for the royalties, not Mosaic. I didn't mean to imply that it was Mosaic's fault, but i think most would have expected him to be paid royalties from whomever was obligated to pay him, in this case Verve. If it really is that rare to be paid royalties (or at least not uncommon not to be paid them), then doesn't that undercut much of our argument against the Euro-labels (and others) that are "taking advantage" of PD laws? Not meaning to downplay the involvement (and investment) of producers such as yourself, Chuck, but often the biggest argument against the "import" labels (or even web blogs) is that the artists aren't getting their fair share. I keep making this point about the fiction of artist compensation. As far as licensing deals by the owners to other labels such as Mosaic, you can be sure that the contract with the artist would have a clause regarding licensing which either would grant a (tiny) percentage of the lump sum paid for the license, or would pay nothing to the artist. Composer's rights are another matter, as I am always pointing out in these discussions.

That looks disgusting!

I wannit.

Are the discs packaged in jewel cases or mini-lp sleeves? I was wondering about that myself...

On a related note, the James/Krupa Mosaic has now reappeared as a Capitol Vaults download. For those inclined to purchase downloads.

Birthdayez-vous, m'sieur, birthdayez-vous.

I think I'll wait for the LP version. Otherwise, what Chuck said...

Keeping things in print costs money. Limited runs make advertising easier and boost demand.

Well it started when I checked out their album of Pink Floyd covers...

http://www.amazon.co.uk/The-Royal-Philharmonic-Orchestra-Endless/dp/B006Z15KJ4/ref=sr_1_1?ie=UTF8&qid=1331557044&sr=8-1 sign of these rehashed times

At the time of its release, people were surprised that this was such a musically simple album - lots of acoustic guitar strumming, little of the elaborate production associated with DSotM. I like it.

I thought answered the question quite well - a set where the whole would have been less than the sum of the parts and changed their character. Nothing to do with blocking future issues, which in the case of the Sounds basically won't happen outside Japan. Uh, or Europe...

This reminds me of the story about how on his first British tour, audiences were shocked to hear Muddy Waters playing with an electric guitar and a pounding beat. (Didn't he go acoustic-only for his second tour as a result?) Hell, most folks here expect their jazz to be acoustic and dread the electric bass. And anything involving electronics or amplification is generally avoided by traditional symphony orchestras or requires copious program notes to explain it to a reluctant audience. Acoustic instruments, eh - who needs them?

I just might cave one day and drop the $150 people want for Willisau. $150? I want $1000 for mine. I'd pay $150 just for a second copy...

IIRC There was some talk of a Select selection. I think the problem with a complete Three Sounds set is that some of the music is very 'light' and a little trivial. So it works as intended as an LP package, but might work less well if all piled together in chronological order. There might not be much of a buzz around that, if it were to happen. A Select might have aimed to present the Three Sounds as more jazz-credible, by foregrounding things like the wonderful Summertime, but that would have re-written history and changed the concept of the band, which was relatively commercial. So I kind of like it as is - and over time the stuff has been findable in one form or another so enthusiasts and collectors haven't been starved.

There's bound to be a next time.... right....?

I guess it's expensive to do and a niche, so they leave it to Mosaic. That said, I've never really understood how the famous Sony Original Masters Ellngton was put out in new and fine masters in 2008 only to disappear after a year or so. That showed what could be done, and at the lowest price imaginable. But why just that one, and why so short-lived...?

http://www.telegraph.co.uk/news/obituaries/culture-obituaries/music-obituaries/9111741/Red-Holloway.html

I believe we learned that the target size was 7, in economic terms.