John L

Such as? I imagine that the two main issues would be 1) Who now owns the copyright? 2) How much money would they demand for it? There could also be other issues, for example if Warne Marsh himself was against releasing this material for one reason or another.

Lon, I haven't yet, but I will. Who knows? Miracles sometimes happen.

Chuck: Did you send Chewy a blank booklet with this CD? You should be ashamed!

The story goes that, unfortunately, in the prime of his career in the late 60s and early 70s, Warne Marsh was able to make few recordings to document the state of his art at the time. There is only Ne Plus Ultra from 1969. Right? Well, according to the Warne Marsh discography, Revelation continued to record Marsh very extensively between 1969-1971, but released virtually none of it. Will we ever be able to hear this, what would probably be the only comprehensive documentation of the art of Warne Marsh at this time????? Yea, I am talking about a potentially spectacular contribution for Mosaic records. 69-0914 WARNE MARSH QUARTET. “Ne Plus Ultra”. ‘Herrick Chapel Lounge’, Occidental College, Los Angeles, CA., September 14, 1969. Gary Foster, as; Warne Marsh, ts; Dave Parlato, b; John Tirabasso, d; . 1a You Stepped Out Of A Dream take 1 ? 1b YOU STEPPED OUT OF A DREAM take 2 9:03 2 How About You ? 3a Two Part Invention No 13 (J.S. Bach) take 1 ? 3b Two Part Invention No 13 take 2 ? 3c Two Part Invention No 13 take 3 (inc.) ? 3d Two Part Invention No 13 take 4 ? 4 Featherbed (unsure/maybe mixed up w. Smog Eyes (69-1025/item 3) ? Note: Entry according to Revelation files; before item –3a a false start was recorded. Not known which take of “Invention” (0:59) is used on the CD issues. 1a,2,3? Uniss. 1b, R Revelation 12 1b,3? CD Crown BRJ-4111 : hat ART CD-6063 : Hatology CD-603 69-1025 WARNE MARSH QUARTET. 'Herrick Chapel Lounge', Occidental College', Los Angeles, CA., October 25, 1969. Gary Foster, as; Warne Marsh, ts; Dave Parlato, b; John Tirabasso, d. 1 SUBCONSCIOUS-LEE 7:15 2 LENNIE'S PENNIES edited 4:21 3 SMOG EYES ? 4 TOUCH AND GO 15:22 5 YOU STEPPED OUT OF A DREAM take 3 ? 6 317 EAST 32ND STREET 8:15 1,2,4,6 R Revelation 12 1,2,4,6 CD Crown BRJ-4111 : hat ART CD-6063 : Hatology CD-603 3,5 Revelation unissued 1-0000 WARNE MARSH – CLARE FISCHER – GARY FOSTER. Los Angeles, early 1971 Gary Foster, as; Warne Marsh, ts; Clare Fischer, p; Paul West, b; John Tirabasso, d. 1 JUST FRIENDS 13:07 2 I GOT IT BAD AND THAT AIN'T GOOD 7:55 3 FEATHERBED 4:46 all PR unissued Revelation date 71-0111 WARNE MARSH & GARY FOSTER. 'The Ice House', 24 Mentor Avenue, Pasadena, CA., January 11, 1971. Warne Marsh, ts; Gary Foster, as, ss; Dave Parlato, b; John Tirabasso, d. 1 317 EAST 32ND STREET ? 2 TWO NOT ONE ? 3 FUZZ BLUES ? 4 KARY'S TRANCE ? 5 IF YOU COULD SEE ME NOW ? 6 SUBCONSCIOUS-LEE ? 7 BACH 2 PART INVENTION ? 8 FEATHERBED ? 9 HOW ABOUT YOU ? 10 CONFUSION IN DALLAS ? 11 BACKGROUND MUSIC ? all Revelation unissued 71-0809 WARNE MARSH & GARY FOSTER. 'The Ice House', 24 Mentor Avenue, Pasadena, CA., August 9, 1971. Warne Marsh, ts; Gary Foster, as, ss *; Dave Koonse, g; Frank De LaRosa, b; John Tirabasso, d. 1 FEATHERBED 9:42 2 IF YOU COULD SEE ME NOW 9:37 3 ROUND MIDNIGHT 6:51 4 FUZZ BLUES * 8:14 5 SUBCONSCIOUS-LEE 7:58 6 ALL ABOUT YOU 6:24 7 LENNIE'S PENNIES inc. 3:53 all PR Unissued Revelation recording 1a,2,3? Uniss. 1b, R Revelation 12 1b,3? CD Crown BRJ-4111 : hat ART CD-6063 : Hatology CD-603 71-0822+ WARNE MARSH. A Giant Passes. 'The Gilded Cage', Rosemead Boulevard, East Pasadena, CA., August 22 and / or 26, 1971. Warne Marsh, ts; Ron Hoopes, p ; probably Paul Ruhland, b; John Tirabasso, d. 1 LULLABY OF THE LEAVES (a,b) 9:00 2 IT'S YOU OR NO ONE (b) 6:30 3 DAY BY DAY (a,b) 8:40 4 I LOVE YOU (a,b) 7:25 5 SONNYMOON FOR TWO (sign-off) ? Note: Tunes labelled (a) were intended to be issued after Marsh' death under the title 'A Giant Passes'; labelled (b) under the title 'At The Gilded Cage'. (see also 72-0600) all Revelation unissued 72-0509 WARNE MARSH - CLARE FISCHER - GARY FOSTER. 'Clare Fischer's Studio', Van Nuys, CA., May 9, 1972. Gary Foster, as; Warne Marsh, ts; Clare Fischer, p, org (11,12); Paul Ruhland, b; John Tirabasso, d. 1 IT COULD HAPPEN TO YOU 8:26 2 BLUESY ROUGE 10:09 3 IN A MELLOTONE 11:15 4 YESTERDAYS 7:50 5 KARY'S TRANCE 10:00 6 SQUARE THEME Fischer plays polka beat against horns (play "Donna Lee" ) 0:35 7 I GOT IT BAD AND THAT AIN'T GOOD 7:00 8 STELLA BY STARLIGHT 12:00 9 THERE WILL NEVER BE ANOTHER YOU 10:00 10 IN A SENTIMENTAL MOOD 2:38 11 CHEROKEE 10:00 12 YOU'VE CHANGED 10:00 13 WATCH WHAT HAPPENS Marsh out 9:00 14 JUST FRIENDS ? 1-4 R Revelation 17 others unissued; entry according to Revelation files 72-0529 WARNE MARSH - GARY FOSTER. 'The Ice House', 24 Mentor Avenue, Pasadena, CA., May 29, 1972. Gary Foster, as; Warne Marsh, ts; ; Frank De LaRosa, b; John Tirabasso, d. 1 KARY'S TRANCE * ? 2 LENNIE'S PENNIES * ? 3 317 EAST 32ND STREET * ? 4 YOU STEPPED OUT OF A DREAM * ? 5 FEATHERBED * ? 6 BODY AND SOUL * ? 7 TWO NOT ONE ? 8 ALL THE THINGS YOU ARE ? 9 BACH TWO PART INVENTION NO.13 Marsh + Foster only ? 10 TWO NOT ONE ? 11 IF YOU COULD SEE ME NOW Foster out ? 12 CONFUSION IN DALLAS ? 13 I LIKE NEW YORK IN JUNE (or How About You / Chamberlain) ? 14 FUZZ BLUES * ? 15 BACKGROUND MUSIC * ? Note: titles with * probably duplicates of previous entry. all Revelation unissued; entry according to William Hardy (Revelation Records) ♦ 72-0600 WARNE MARSH – CLARE FISCHER 'Clare Fischer's Studio', Van Nuys, CA. unknown date, June 1972 Warne Marsh, ts; Clare Fischer, p, el. P (7,8); Paul Ruhland, b; John Tirabasso, d 1 THAT OLD FEELING 7:05 2 STRIKE UP THE BAND 8:46 3 INDIAN SUMMER 10:17 4 THE MORE I SEE YOU 3:53 5 ISRAEL 5:55 6 THE BEST THING FOR YOU 8:15 7 AFTER YOU'VE GONE 11:48 8 THIS CAN'T BE LOVE inc. 2:54 all PR unissued Revelation recording.

I have just revisited Aretha's Columbia albums in chronological order. In the chronological sequencing, the first five albums really stand out (IMO): "Aretha," "The Electrifying," "The Tender, the Moving, the Swinging," "Laughing on the Outside," and "Unforgettable." They are quite inspired, contain much less filler than I had remembered, and Aretha usually transforms even the inferior material into something memorable. The other fact that struck me about the first three of those albums is that they sound quite forward looking for the time (1961-1962) in the brewing pot of R&B/proto-soul. They seem to be moving more toward what Aretha did later on Altantic than toward the subequent Columbias. "Laughing on the Outside" and "Unforgettable" feature Aretha as a singer of jazzy pop ballads and, in the latter case, blues. Both of these albums are superb (IMO). Aretha is clearly inspired by the material, and makes most of it her own. "Soft and Beautiful," which appears to be have been released later from unreleased material, mines the same territory, although not as successfully. What came later on Columbia strikes me as much more mixed and curious. "Running Out of Fools" was certainly a fine track for Aretha during this period, but the album by that name strikes me as rather weak. It is full of rather straightlaced pop covers of early 60s songs, few of which add anything of value to the originals. "Yeah!" is very enjoyable from start to finish, but still doesn't seem to have the same spark or relevance as the earlier records. I don't know when "Take it Like You Give It" was recorded. I assume that it was released from vault material after Aretha had already left the label. There are a few quite remarkable performances on it, although there is an excess of overdubs and sweetening for my taste. All in all, listening to the records in sequence does give the impression that, despite great artistic successes with the earlier albums, Columbia may have indeed been a bit confused about what to do with Aretha by the mid-1960s. Yes, Altantic fixed that.

Given that they are giving out co-composer credit to blues artist, they might have also given Jody Williams (who is still alive and making a very modest living) some credit for Beyond Here Lies Nothing. Most of the arrangement for that one is ripped from Jody Williams' Lucky Lou, although perhaps indirectly through Otis Rush's rip of Jody (All Your Love (I Miss Loving)).

Is that to say that Chronological Classics can now be downloaded from emusic in the US?

I assume that Allen uses Europe for his releases. Otherwise, his compilations would be a copyright nightmare. But I guess that we should let Allen tell us about it, himself.

In 10 or 15 years I'm betting they'll have the technology to actually do this. (And I'm only half kidding.) I would certainly not buy a tuned version. I think that the piano that Mal was playing mayhave actually inspired him for that date. My out of tune ears love it! D)

You might want to hurry a bit, Allen. The movement to extend copyright in the EU seems to finally have some momentum. It may be extended from 50 to 70 years rather soon, which I imagine would knock your cuttoff date back to 1940. Of course, for the blues, that still wouldn't kill it.

I believe that there was only one session (a beauty of a session too), and it is now included on this CD.

There is another interesting video of Albert Collins and Jimmy Vaughan watching this video of T-Bone together, and discussing what T-Bone's music/influence means to them.

Thanks for the explanation, Neveronfriday. That is impressive. As I wrote, I am planning to do the same thing as you, but plan to wait until advances in technology make it a bit more convenient.

Interesting comments, Neveronfriday. One question: How in the world could you possibly fit 10,000 ripped CDs in lossless on a 1TB drive. I would expect that you would need 5TB or so for all of that.

Ditto. Those Pres tracks are much better than average private recordings for the period, and average for Pres was already better than anything by anyone else.

Yea, that is one of my very favorite video clips - a virtual summary of the musical genius of T-Bone Walker in a couple of minutes. That was the very first approach to single string electric blues guitar, and still unbeatable to this day.

Interesting... I think my "greed for space" may push me to go with 128, unless I learn something new here pretty soon, but I do see your logic. Thanks for sharing the idea. Anybody else have any insights? Jim - I'm with you. I think that 128 AAC sound good on iPods. When they don't sound good, it is usually due to the source rather than the bit rate. I have almost my entire CD collection ripped at that rate for the same reasons that you note. Another interesting fact is that the battery power needed to play MP3s on an iPod is an increasing function of the bit rate. So playing lossless on an iPod will drain the battery much faster. I am planning to rip my CD collection only one more time, and that will be to lossless. But I am in no rush. I plan to wait until the capacity of computers is such that we can treat wave files like we do now 128 bit MP3s. Until that time, I will enjoy what I have.

Well, I consider it to be essential, as least as a part of my own musical diet.

Have you tried use the "Sorting" tab in preferences? This should remedy the situation, I think. You can keep the artist name the same, but sort using a tag of your creation. For compilations, I just label the artist Various Artists; as a result, all my comps pop up in the V section. But you can sort by any criteria (doesn't have to be alphabetical), as long as you create the criteria. Strange. I have always though that iTunes gives fine options for multi-artist compilations. You just have to label them "compilations" in iTunes and make sure that the compilation function on your iPod is turned on. Then you can select "compilations" and just see compilations, whether in iTunes or on the iPod. Individual tracks can by labeled by individual artist rather than "various artists" and iTunes will still store the album in the "compilations" folder. The only problem is that the CDDB database often has CDs misdesignated as compilations or not compilations. That sometimes (but not always) comes from the ambiguity that the word "compilation" can also be used to describe a single artist collection. So you need to check that before you rip into iTunes (or edit afterwards).

I can't imagine life without a number of the records that Chuck produced. He knew who to record, when, and how. His batting average alone would be enough to put him in the Hall of Fame, or, alternatively, the number of home runs by themselves would suffice as well. Some of his posts on this board also contain some pretty deep minimalism. Sometimes I have to stare at those two words for some time before I start to hypothesize about what they might mean.

Did you know that even a duck can become that kind of a soul singer? Take a large duck, rub it down with bacon fat, and put it in the oven until its bill withers.

I am quite fond of most of the recordings that Red Rodney did for Muse in the 1970s.

Sam Baker recorded a great version at Sound Stage 7.

Disc 1 of that Jimmy Rogers collection is some of the best blues ever recorded. Disc 2 is mostly throw away stuff.