felser

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cat·a·lyst /ˈkad(ə)ləst/ noun a substance that increases the rate of a chemical reaction without itself undergoing any permanent chemical change. a person or thing that precipitates an event. "the governor's speech acted as a catalyst for debate"

Received my shipping confirmation earlier this evening.

They often won't even sell a track that is 10 minutes or longer. Or making a great funny.

There it is, another Russian plot to destroy us all!

I hear you, but also remember a time in the Clive Davis era when Columbia signed and recorded Bill Evans, George Russell, Keith Jarrett, Compost, Horacee Arnold, Dreams, and even Ornette Coleman, along with Miles, Brubeck, Mahavishnu Orchestra and Weather Report. 10 years later, it was the Marsalis Bros. and Harry Connick.

Understood, but the hypothesis being discussed wasn't that they had stifled sales, but rather that how they were championed had stifled creative opportunity. I agree that Joshua was always gonna outsell Dewey, and that he plays very well indeed, but Dewey expands the music. That being said, I play Joshua's "Spirit of the Moment" as much as I play anything by Dewey.

No offense to (then) young Mr. Hollyday, whose output I rather enjoyed (and I saw him live once, and he was good), but here is the major record companies were looking to do for jazz in the 80's.

Here's my take. The whole early-mid 80's Wynton phenomenon kicked off the majors looking for "young men in nice suits" for their jazz releases, which flooded the market. Some, such as Terence Blanchard, were substantial talents. The vast majority were not. 18 year olds (and younger) were getting Columbia and RCA contracts), the creative masters could not. Even the talented new players could often be traced directly to older masters. Christopher Hollyday did a mean Jackie McLean, but Hollyday could get recorded and McLean couldn't. Vincent Herring did a swell Cannonball Adderley. Kent Jordan, Marlon Jordan, Amini A.W. Murray. And so on. And so forth. Josh Redman (who I do like OK) could get a contract, but Dewey could not. Though some of this started in the 70's, where even in some of the cases where masters did get contracts, they were expected to make safe, marketable music (Bobby Hutcherson, Cedar Walton, even MCoy Tyner on Columbia). That also affected what got played on jazz radio stations. Broad brush, I realize, but that's sort of my impression of it. Ellis totally puts me to sleep without fail. I have to think his contracts were totally on the coattails of his sons. And he was even (much) more reactionary than they were.

My soul has been psychedelicized...

Totally with you there. And as far as Ellis, don't even get me started.

And he dared us to listen to five CD's worth or whatever. @Scott, I do admit that VV box is pretty good. Though I'll still take Live at Blues Alley over it.

I like most (not all) of his early albums up through Live at Blues Alley just fine. More than Branford's early albums. It's the pretention that came after which troubles me. Though I actually enjoyed his commentary in the Ken Burns' Jazz series, since that ended with Parker/Gillespie threatening the peace anyways. But I can't listen to his stuff from '89 on too well, the more "significant", the more troubling it is to me. Good summary. I really liked his earliest work with Blakey a LOT. The Live at Bubba's semi-boots are magnficent.

a date in 1983 doesn't enable him to expertly evaluate a remarkable 45 year career.

Also received mine Monday.

I loved his playing with Blakey and his Blue Notes. But I agree that his work with Weather Report never knocked me out, and the latest leader date that was a keeper for me was 1974's 'Native Dancer'.

Of course not. What could 17 year old Tony Williams possibly have learned from the man who conceived and executed 'Kind of Blue'?

And like good management.

Too harsh towards those frisky Marsalis brothers. I'll always be forever indebted to them for inventing hard bop in the early 80's and then teaching Art Blakey how to play it.

That's a GREAT buy. I also commend the Dexter Select, the Live Trane, and the Mingus Leader set.

And most still unspoken for.

Tuesday for me also. I just received the Searchers box from them on Friday.

I have several hundred vinyl LP's that no longer have use to me (mainly replaced by CD). I have never really sold vinyl, so cannot quickly grade and price all of them. I am going to list out the Charles Tolliver titles, and if you have interest, please IM me, and we most likely should be able to work something out, either likely a sale or possibly a trade for CD's. I will describe condition when you contact me, All were good enough that they were in my collection, though most were purchased used. I am motivated to move these out, so will not be tough on pricing, though I want the exchange to be fair. Thanks. Strata-East Charles Tolliver – Live at Slugs’ Charles Tolliver - Live at Slugs’. Vol. 2 Charles Tolliver - Compassion Charles Tolliver - Impact Charles Tolliver – Live at Loosdrecht (2 LP) Arista/Freedom Charles Tolliver – Paper Man (aka All-Stars)