mikeweil

That exactly is the problem!

Maybe this discogs page helps: https://www.discogs.com/label/75724-Avantgarde-2 Scroll down the list for some of the boxes. Much of the series was recycled on a CD series "Music of our time".

See for yourselves, and note the statement on the front page about handling international orders ..... https://www.propermusic.com/

Disc Three, with these LPs:

I still have the WERGO issue of the Berberian LP, but haven't listened to it for decades .... seems to be a different program. https://www.discogs.com/Cathy-Berberian-MagnifiCathy-The-Many-Voices-Of-Cathy-Berberian/master/158847 Have a look at the WERGO listing - are there any issues of TIME LPs? Or did TIME do US releases of WERGO albums? Many of the latter were originally recorded by German radio.

Wergo was among the first German labels to release recordings of Feldman and Cage - but they were owned by Schott Music who published a lot of sheet music of avant garde composers. (Both still exist) Deutsche Grammophon once made a series of LPs with avant garde stuff, with a lot of public relations around it, but that was about it for larger German classical labels. Either small labels or imports. Those Bielefelder Kataloge Steve mentioned were a good source of information, even though they only listed LPs the companies - German as well as import services - provided information about.

Got a copy of the CD issue of this one: I'm not really a fan of Burton, I prefer more rhythmically centered vibes players, but I enjoyed him here. Part of the arrangements are by Gary McFarland, for a very unique ensemble of woodwinds (french horn, bassoon, flute or clarinet) and string trio plus vibes/guitar/bass/drums, Burton's RCA sessions would have made a nice box set ..... the CD reissue I got via jpc comes without booklet notes, not even a facsimile of the back cover, no credits - only a list of tunes without timings or composers! It bears an official SONY imprint, and is sold at normal price. Any Spanish label would have taken more care.

Have tickets for a concert by Jean Rondeau tonight, playing harpsichord concerts and chamber pieces of Bach & Sons, but road conditions keep us at home - I don't mind the snow, but it was raining this afternoon, the ground is frozen, there is a serious warning for icy roads. Ice is nasty ...... we'd have to go 50 km to get there. I was glad I decided to take a train to Frankfurt in the morning for accompanying dance classes - the term's last sessions; the highway was jam packed, but I got there on time. My wife just returned home and fell asleep on the couch. Oh well .... just spinning the CD with an almost identical program.

Imports were available through specialized import services - I remember some conductors had received good reviews, like Abravanel for his Mahler cycle. But they were a trifle more expensive than European pressings, and had a reputation of being noisier than pressings from Pathé Marconi in France or Deutsche Grammophon. Whenever a US label had a Eurpean branch, like Columbia with CBS, they had the records pressed in Europe. In general, I think soloists or conductors were found more important than orchestras - when a favoured European conductor was contracted by a US orchestra, they released it over here, too. And of course, when a renowned conductor/soloist, had signed with a European label. In the LP era, the scene remained at a disctance, e.g. European ensembles rarely recorded works by American composers - these were items distributed by the import services.

on to disc two: LPs featured are:

Just remembered that Marc Ribot recorded some solo guitar, although I never heard them: https://www.discogs.com/Marc-Ribot-Saints/master/533070

There were a few LP box sets in the 1950's on Columbia, like the Fletcher Henderson - Mildred Bailey and a nice 52nd Street anthology: But the one that started it all in the 1980's probably was this one:

This overview of the whole series of Miles Davis Columbia box sets might be helpful: https://www.discogs.com/label/320261-Miles-Davis-Complete-Recording-Series p.s. I love that Lester Young session! Will get that box later this year, although I have almost all of it on various discs. But the session on the Verve LP you pictured is the 1946 trio on Clef, not the 1942 trio on Aladdin that is included in the Mosaic box - but you will want both, anyway.

disc one, featuring:

Excellent recording by Maude Gratton, but the liner notes are repeating outdated misinformation about the composer, especially on the c minor fantasy, which was really composed by Wilhelm Hässler. It is embarassing how the author raves about its qualities as an exemplary Wilhelm Friedemann Bach composition .

R.I.P. Four of his Evan Horne novels were published in German translations - I found one in a bookshop when browsing through the mystery bins, bought it, and enjoyed it. As the originals were hard to get here and only at rather high cost I got the other three, too, the translator even vistited Moody in L.A. to get a better feel for the jazz scene, but you still notice that she is not that involved in the jazz scene. Some jazz talk is real hard to express in another language, so she did a very good job. I still would like to read his other books.

Sorry for the misunderstanding - I do not have any used Nina Simone LPs, but several Jamal albums I bought in Paris - and they were all played, for sure! Maybe just not handled carefully, but played, and often?

The problem I sense with almost everybody criticizing Nina Simone for anything is that they always are missing something they expect from her, and see/hear other things that do not fit into their picture of her. When you see her as a jazz singer, you won't get too far. She didn't view herself as a jazz artist but one who used jazz stylistics or whatever aspect of that music. She truly was beyond any musical category. Reading her autobiography helped me a lot to understand that. She had a reason for chosing these pop tunes, even those that were suggested to her, but never would have sung one that she didn't like. Just as she hated to sing "My Baby Just Cares For Me" at the end of her career as she was mad about the way she had been take advantage of with it. The audience didn't know about that, and wondered about her reaction. You really have to know a lot about her and invest a lot of empathy to understand her. For an artist in her situation at that time, the Colpix albums are all major achievements. You have to listen to them in chronology and inform yourself about the time and her biography to fully get this. If you take them as just music, you'll always find something that you do not like or understand. This was before there was anything like "soul music" - and I'm sure she would have resented that category as well.

Just had a closer look at the Colpix Singles reissue - all mono mixes as well, and a double CD. It is on Parlophone in Europe, an EMI label - one of the Colpix Roulette CDs was on that imprint, too. FWIW, I just ordered both, and hope they arrive in time for my Nina Simone evening.

As far as the Colpix singles are concerned, I'd say no. Some of them were 45 rpm only, others were included on the LPs released later. All of the singles only tracks were added as bonus tracks to the Colpix/Roulette CD reissues from 2004-2005. If you want them all in place in the order they were released, it might be interesting, in conjunction with reading her biography. As I understand it one of the Bethlehem tracks is a previously unreleased alternate ("He's Got The Whole World In His Hands"), and all are the original mono mixes - that makes me curious, as I tend to prefer those. When I compare the timings of the singles and the LP versions as listed in the Nina Simone database, there might be minor edits of maybe two tracks, but nothing substantial As I'm preparing an evening for our friends, reading from her autobiography and playing some of her music and some videos, I'll get them to complete my picture. Few of those singles were minor hits but played a role in pushing her career, most of them flopped, among them the response to Ray Charles' "Hit The Road, Jack" - "Come On Back, Jack" - Nadine Cohodas' book tracks the chronology pretty well.