felser

And that label tends to do a really bad job at it, so often lopping tracks from classic albums, and reissuing parts of two classic albums together on one CD (their "Revisited: from.... t..." series. There is value when they include two full albums, and I like their design, but I wish the label would think. I thought everyone learned their lesson when MCA was doing that nonsense 35 years ago.

EU copyright laws changed for post-1962 recordings so that Beatles recordings would not go PD after 50 years: https://webgrafikk.com/blog/uncategorized/the-beatles-and-cliff-richard-law/

Seems to be tougher for post-1962 recordings, though some of the Enlightenment sets go up to 1964.

Sadly, you're absolutely right. I'm still grateful to Norah Jones for selling so many millions of BN CD's so that they had the capitol to do all those dream-come-true reissues.

Please educate me/us on what those are!

My clear choice !

We'd have a LOT of questions for him!

I put a cut from Priestess on one of my early BFT's, and it was widely praised, though no one could identify it apart from Harper's work. It's like getting a Billy Harper big band album.

Could Washington have just been a temporary sub for Garnett, rather than preceding or replacing him? Just speculating.

Even for the Japanese market?

https://newworldnjazz.com/mark-masters-ensemble-ft-billy-harper-dance-eternal-spirits-dance-capri-records/ Look great to me! Their 1990 collaboration, Priestess, is quite wonderful.

I was horrified when first I heard his work on this. I was an 18-19 year old, new to jazz, in the early 70's. Thought I was getting nice extended versions of two pretty songs with Coltrane and the guy who did "The Creator Has A Master Plan".

In another six months, she will have outlived her father. But he was an ancient 71. I'm a fan of her classic and later material, the work she did after she found her own voice.

Agree with that assessment. It'll come around, us old-ish guys just need to stay around long enough to see it 🙂.

Not me, I also read "You'd be amazed at what has already been mastered...and pleased."

The India Navigation album? That's a good album, but stylistically pretty much stands on its own in his catalogue. If it's the ESP-Disk album, that also sounds like nothing else he ever did.

These albums are less out there than you would expect from his earlier (and some of his later) work. Theresa was absolutely not pushing the envelope with their catalog.

Also surprised that McLean's High Frequency never made it to standalone CD, only on the Mosaic box. That session is a favorite of mine.

I agree with that take.

I have all of it, I think all on Evidence CD's, feel no need to upgrade. I find ups and downs in these recordings (disclaimer: I also do in his Impulse albums), but do especially like the Live album.

Yes.

I thought I was referring to Ronnie Laws, who is listed on personnel on their first album (I was mistaken), but Doug Harris played on those ca. 1990 McCoy Tyner Big Band albums on Milestone and Verve, and with Mongo Santamaria ca. 1980, plus some other interesting credits (Frank Foster, Ellington ghost band, etc.).

I went ahead and Shazam'd this. And no, don't own this and am not familiar with the group at all (though certainly know the tenor player). So this is going to be a very expensive BFT for me ! 🙂

BFT 255 1 – Perfect groove for a Sunday afternoon. Especially enjoying the rock-solid walking bass! 2 – So utterly in my wheelhouse! I better have this on the shelves somewhere, especially loving the tenor player and the Rhodes!. LOVE this cut. 3 – Well-played and soothing, but ultimately not very exciting. I have much respect and a little bit of love for it. Drummer does catch my ear. 4 – No thanks. Sounds like younger musicians mimicking older style. 5 – See #4, just a slightly less older style. 6 – I guess I should really like this, but it’s taking a while to grow on me, thought I was getting there as the track progressed, but then it greatly overstayed its welcome. . I dig the bass player (Charlie Haden ?) and the drummer (Ed Blackwell ?) more than the sax player (Dewey Redman ?) overall, though I could live without the bowed bass effect. 60’s ESP-Disk style brought forward by a couple of decades by sounder players, I guess. 7 - Especially enjoying listening to the bass players on this BFT, which I guess is no coincidence 😊. Bass is about the only thing that jumps out at me on this cut, and I actively dislike the drumming on it. Pianist is fleet and pleasant, though I’m not sure he’s telling me anything. I’d probably enjoy this cut a lot more with a different drummer. 8 – OK, we’d like to slow the pace down for the next number. I think it’s probably a more modern player trying to do his best Ben Webster and having some success at it. Maybe someone like a Joe Lovano. I ultimately respect it more than I like it. 9 – I can do this, I guess. Sounds like the Trio of Doom album with McLaughlin, Pastorius, and Tony Williams, though I would guess it’s later-era Sonny Sharrock. As McBeth said, “Sound and fury signifying nothing”. 10 – Outside my domain, though not without its small pleasures 11 – This cut speaks to me. Makes me think of Paul Bley and of ECM. More likely post-1990 ECM but not Bley. Favorite cuts in order: #2, #1, #11. Favorite instrument throughout: bass. Must-own cut: #2 Thanks for the BFT and some new discoveries!