David Ayers

A-G gets stiffed? BN had little that you could call AG, but all the CT is there, two Ornettes, one Cherry, and a few other things that are or are not A-G according to where you draw the line (Mclean, Hill, Moncur, Dolphy). Not sure how you would see a selection of 100 as working out....

I'd love to hear this group. Thanks for posting.

We haven't commented on it but I notice Don Was was also mentioning CD releases from these new transfers. Interesting. Or would be if I hadn't heard it all already .

Thankfully not 1000 titles, which is what I first thought...

Nooooooo! It shall be wrong in my mind and heart forever! I'm a purist.

I hate channel swapping! It is like seeing yourself the right way round in a mirror!

Thanks to Romualdo for those photos. Interesting to see what these look like. i wonder if this style of pseudo-Japanese knock-off will become the way of the future for other releases?

Allen, rescue me

As much as I appreciate the opportunity to hear this well-presented and generous release, it only adds to my sense that jams by these Miles groups contain a lot of pompous meandering nonsense. The reason for the three Fillmore West tracks is to document tunes the band played in April but did not play in June. Documentation for those who didn't download it. Obviously the sound quality makes that gig unsuitable for separate release.

Nothing funnier than mass murder, is there?

Cool. Thanks for the link.

Cool list and kudos to Don Was for setting up this project. Thanks for the link.

Though I remember that the King asked the Queen and the Queen asked the dairy maid at the end of the thread, I wonder if the official answer survived. IIRC it was Yoshio Okazaki in the Tape Vault with a Second Generation Master.

Notice that some Hat titles have started to pop up as d/l and on Spotify. Polwechsel – Traces Of Wood Samuel Blaser Quartet – Boundless Samuel Blaser Quartet – As The Sea Albert Ayler – Albert Ayler, Lörrach, Paris 1966 There are maybe 8 more.

I just saw this page at the ECM site which confirms that these releases are all newly mastered and are part of an ongoing series, which is good news I think. Among other things, that may explain why they have chosen two titles with orchestra, as being likely to benefit from the treatment. http://ecmrecords.com/Catalogue/ECM/Other/Re_solutions.php

Trovar details New Directions as (p) 1978 and Nice Guys as (p) 1979.

I know Quartet Moscow - it's great!

Indeed they did - stuff like their Tubby Hayes box is most welcome. Guess I need the Harriott eventually, too ... granted I'd prefer more Dutton/Vocalion reissues (and hey, some of those might indeed have been surpassed before release by - other - PD reissues ... and hey again, that scenario hurts me when it's about small labels, call me sentimental, but I still think I made a point or two above that remain valid, even if we give the majors the finger, which I'm most ready to do). Not sure, wasn't the Spotlite set around for most of the time? In fact it might still be around:http://www.amazon.co.uk/gp/product/B000026QCO/ Now for the Savoys ... Yes Spotlite was first but is only the Dial of course. The Savoys were more of a challenge...

Ubu is right on that in a general way, although IIRC the Definitive Parker box was for a while the *only* easy way to get that material. If I am wrong on that somebody correct me.

Guilty

I took it Shoemaker was not endorsing Murray in general but using him to highlight the jazz-as-high-art-music model which took over commentary on the avant-garde.

More loose thinking than i can chase down, but let's put it this way - consolidators like Universal don't own the PD material - no-one does. How you access it is up to you. The consolidator may control the physical masters, but has zero ownership in the recording. Zero. People either get this or they don't. As for the claim that the PD issues prevent consolidators from investing in marketing back catalog, the pattern of releases over the years does not suggest that. PD labels go beyond what the consolidators do. PD reissues generally cost more than the (equally PD in Europe) consolidators' own reissues. In any case, consolidators have done this stuff in the past, as with Blue Note, but backed off as they could not make it work in terms of their business model, They still do it from time to time, as with the recent Warner Atlantic series, and when they do it they sell cheaper than the PD labels. This debate will wane, I think, as major copyright owners got European PD reset to 70 years from now on to protect their major properties such as the Beatles. PS - yes on streaming, which changes the debate yet again - the PD releases make Spotify look like a junk shop, un-navigable.

I just wish that 'picking up a new Braxton' would not so often be an all-or-nothing proposition. By which I mean, does everything have to be a box set?

That'd mean the box was produced by Fantasy originally, and that it has been released in Europe by the international branch of Universal, which is based in London. From what I've seen, this would be a Europe-only release, hence an import in the US and Japan. From what a friend's told me, boxes like the Jarrett, with a © line referring especifically to Italy, would mean a product for the local market which can also be exported to others. In practical terms, this would normally imply fewer units manufactured. Given that these guys own the masters they're releasing, I don't think it has anything to do with PD, Ubu. F Actually it might. Since these packages are being manufactured and marketed in the EU, they might avoid contractual obligations from the US. Just wondering. My guess is that you are right, and that it would have always been the case for euro-releases. I really don't see Universal et al. handing over money they don't have to.

Oh. i have skim read it now. That is a very good piece. The question of reception is very important. The word he is looking for is 'surrealism.'