colinmce

http://www.amazon.com/Africa-Speaks-America-Answers-Revolutionary/dp/0674046242/ref=sr_1_1?ie=UTF8&qid=1331476239&sr=8-1 http://www.avclub.com/articles/robin-dg-kelley-africa-speaks-america-answers,70471/ Looks good!

It is on their schedule, but has been for more than 5 years.

I just might cave one day and drop the $150 people want for Willisau.

Me too. As to Jonathan's question, I second a good website. It sounds like you are committed to keeping the releases coming, and I think that if you can commit to X number of issues per year (3-4?) why not do a subscription like Número Group or Music Matters? There's a great uniformity to your releases, and I know I'm not the only one who will buy anything you put out. It might help to know you have certain number of copies sold out the gate. Subscribers could get, say, a 10% discount, "insider" emails, and the first copies available. I'd even pay something like a $5 subscription fee. Even if this ostensibly cut into the 10% I wouldn't care and it could help to establish some up front funds assuming enough people do it.

There are these, but certainly not complete:

It's not for nothing we named our son August Ornette! (who, consequently, shares his first birthday with Mr. Cecil Taylor next week!) :tup

I only see success for a Mosaic. It would make them some much needed cash and would garner big attention on NPR, Rolling Stone, etc which obviously would also translate to money for the estate. GO FOR THE CDS!!

Mentioned in tandem with a KJ Select some years back was a Miff Mole set (and the Lucky Thompson).

On the opposite end, the LP-only Johnny Hodges Mosaic was meant to mirror a CD set by Verve that never came to pass. The Mosaic Max Roach was originally planned to include the sessions recorded for other labels during the time span covered- Argo, Time, Riverside, Candid - it would have been a really big set, but a gas musically.

He's also looking damn sharp for the 70s!

In a late 1980s brochure I have (Herbie Nichols on the cover) they announce a Wardell Gray set with no specifics. Also mentioned are the Commodores, Shorty Rogers, and Coleman Hawkins. So really they've been delaying that one for about 25 years now, not 6 months!

Hm, that's some interesting insight on the question of selling individual albums. I always wondered why they never did, say, a Sonny Clark or Bobby Hutcherson BN in the 80s/early 90s before a lot of that stuff was available on CD. Probably why.

Thanks guys.

Well, my copy of THE COMPLETE SET on Retrieval was just melted to shit by some fool at my job (along with some Warne, Ornette and Braxton ... > ). Anyways, is there something better I could buy to replace it that might give me more bang? I can live without alternates if I get some of the later stuff in return.

I was lucky enough to snag a sealed box of the first 5 volumes of the Armstrong MOJ series for $12 on ebay.

Love these compilations:

Forgot about Lee Wiley!

Jonathan, I was aware about your work with Anthony Ortega and Revelation, so it's great to get your perspective; Thanks. Wonderful to hear about Warne. I too took out NE PLUS ULTRA today and jumped right online to grab the Copenhagen/Kenny Drew, Germany 1980, and PAUSA set with Konitz. Never cam have too much Warne. And not to overload you with requests, but how about putting out your two Ortega albums as released (since Hat cut them up)? I also love the Gary Foster, Clare Fischer and Carmell Jones sides!

The Tri-Centric Foundation has launched their new website. Monthly membership is now just $7.99, for which you get a free album each month, 30% off back catalog downloads, and some other perks. There is also a raft of new bootlegs up, which are free to all. Some fantastic looking stuff: the 1989 trio with Tony Oxley, a trio with Derek Bailey and George E. Lewis, 70s Quintet, 80s Quartet, 1979 Quartet w/ Anderson, Barker and Lindberg, Duos with Tietlbaum and Gunter Sommer, and some solos and Creative Orchestra Music.

On second glance I do know Herwig from Eddie Palmieri's band.

(got cut off) ...especially in the arco mode. I'd be interested to know what you think of this, Jonathan. Perhaps I'm off the mark, but that's what I hear. I think a marriage of those two incredible recordings would be enough to persuade someone to take a chance. If you like Sonny Rollins, Lee Konitz, Ornette Coleman, Wayne Shorter in NEFERTITI mode ... I can't imagine you wouldn't like the Joe Daley Trio.

Glad to hear you pressing forward with the box. Ironically enough, I would describe the Daley to someone who hasn't heard it as a cross between Sonny Rollins' FREEDOM SUITE and Anthony Ortega's NEW DANCE. The sound on that Sonny record is particularly dry, unlike the proto Energy music of the Village Vanguard material, or his late 60s trios; I think Daley, who is obviously very Rollins-influenced, comes closest to this particular version of Sonny's playing. And it shares with NEW DANCE an adventurous insider-stepping-outside vibe, a searching, wide-eyed, late night quality. I also feel a connection between Russell Thorne and Chuck Domanico. Both play insanely well on these records

1. June Christy 2. Mel Torme 3. Billie That #2 is a red herring. I love Torme, but generally dislike male jazz vocalists. Heretic as is may seem Rushing, Joe Williams, Jon Hendricks, Johnny Hartman, Leon Thomas, whoever...they drive me nuts. Though I do like Chet, and certainly Teagarden and Louis. 3 is tough, though. I love Rene Marie, Chris Connor, Helen Forrest, Peggy Lee, Anita O'Day, Betty Carter.

That's interesting to hear about Horace Silver, thanks for the info. I always found it odd that this legend-- about the only one left from the hard bop inner circle-- was still living but is never discussed as being "present", if that makes sense.

That smirking little line about AEC was about the most obnoxious thing in the series next to the jab at CT. As it is, I think the film is alright, if simplistic, up to bebop. Everything after that is a blur. I got the book version as a gift, and I have to say it's leagues better than the series. It has tons of great photos and goes some places that I think we all wish the show did, which is frustrating. There are fine essays included by Early (on Kenton, Jarrett, and whiteness), Giddins (on the avant garde-- I know, but it's decent), and Crouch (on the NYC scene of the 70s and 80s), among a few others on early jazz whose subjects i don't recall but which are interesting Why they relegated this stuff to the book I'll never know. Though, of course, I do know exactly why.