felser

Was it settled, or did Sony/BMG just decide that Katz had no grounds at this point to hold them up, and they went ahead and did the deal with Sundazed, and Katz got lucky in court somewhere? I'm truly asking, have always found the whole thing fascinating if incredibly frustrating (for me, with IABD even more than with Moby Grape), and would love any additional insights into the whole thing, including the origin of how Katz and CBS had competing claims in the first place. Was the original contract so vague to leave such conflicting interpretation? And how big a deal cash-wise can this be anyways? If the era of the CD is over, and if these are two cult bands from 40 years ago, what are the potential sales? How is it worth the legal fees to battle this out?

Anything more complicated and interesting than Katz got some court to issue an injunction against Sony/BMG? That's what I figure.

http://www.organissimo.org/forum/index.php...st&p=521919 I second the thumbs-up on the Evans box. It's spectacular, and priced right.

The Peterson box has been around for years, released by Fantasy back in the day.

Cedar Walton - "Ugetsu" (a/k/a "Fantasy in D") Sonny Rollins - "Airegin" Gigi Gryce - "Minority" Frank Foster - "Simone" Billy Harper - "Capra Black" Wayne Shorter - "Infant Eyes" Herbie Hancock - "King Cobra" Jymie Merritt - "Absolutions" Charles Tolliver - "On The Nile" and I second GARussell's nomination of Horace Silver's "Nica's Dream"!!!!

With you all the way. I actually have my jazz shelves divided into "before 1980" and "1980 and beyond" sections, then sort the artists alphabetically in each of those two sections.

Oh, you want extreme do you? Hmmm..... :g :g 1- NOOOBODY expects the Spanish inquisition! Our primary weapon is rhetoric! 2 - Don't shoot him, you'll just make him mad.

Now that I've gotten the vent out the way... Try Master Of The Art if you can find it (has it made CD anywhere at any time?) or anything from the second run at Muse, although that stuff is a little...anti-climactic in some ways and makes me kinda wistful/sad. My favorite is 'Live at the Berliner Jazztage', but as far as I know, every album Shaw ever made as a leader/co-leader is worth having, and I believe I have them all. In case some people don't realize it, 'The Real Thing', released on Muse/32 Jazz under Louis Hayes' name, is the Shaw/Hayes group of that period (Rene McLean/Ronnie Mathews/Stafford James), and is excellent. I agree with Jim, a lot of 70's stuff sounds great to me. Art is of a time and place, and that doesn't invalidate it in the least. "Fables of Faubus" is terribly dated, but speaks every bit as powerfully now as it did when Mingus wrote and first performed it.

How is Eric Dolphy "forgotten"? It feels like every note of his ever captured by an amateur tape recorder has been put out on CD, including too many that shouldn't have been. How many "forgotten" artists would have something the like of 'Other Aspects' released? Or a nine CD set of their complete Prestige recordings. If ever a set of recordings should have stayed in the can, it's those two long cuts on 'Other Aspects'. Judging by his reported difficulty finding work in NYC in the 60's, it seems like he must be much more revered now than he was then in some ways. Schuller isn't likely going to be the most objective judge of this. And, to be honest, I've never been convinced that Coltrane and Dolphy were always the best things for each other's music, although "Spiritual" is magnificent, as are the Dolphy arrangements on 'Africa/Brass'. But too often to me, the other recordings feel like Dolphy had to bend too much to fit into what Coltrane was doing ("My Favorite Things"), or just spend a lot of time laying out (the Village Vanguard stuff). What I have trouble imagining is what it sounded like with Wes Montgomery in the mix! Now that I would pay to hear someone's bad bootleg of.

Out today, five CD set listing for $49.98. I can't find a track listing on any of my usual sites. Anyone know what's on this one? And what the plans are on vol.2, etc.?

And yet others on Amazon reading it have found it helpful. I think the guy clearly has read the book in this case, though I also often see cases where people haven't read/heard/seen what they are reviewing. The Philadelphia Inquirer gave an ecstatic review of the Ratliff book, touting it as a landmark work. It makes me wonder if the maybe the book has great value for a certain audience, and we're not that audience, that we're beyond needing this book to better understand Coltrane in context , but the other 99.99% of the population can benefit from the book. Just a thought. I haven't read the book, but actually wouldn't mind doing so if I ever came across it cheap in a remainder pile or at the library. As far as some of the factual errors, they happen even if the writer knows better. Some of my job involves Technical Writing, and I can't believe some of the stuff I miss in my own writing. I would bet 10-1 that Ratliff knew Hartman was a baritone and just wrote it wrong, and the proofreaders (if there were any) were the ones who didn't know better. I don't read Gary Giddins or Francis Davis or Ralph Gleason or a lot of those guys anymore, but there was a time I did and benefitted from doing so. They have their place, even if their place isn't in our little Organissimo community.

I certainly hear it in the Byrds' "Eight Miles High" and "I See You" and "Why". Clearly, McGuinn was listening to "India" and "Afro Blue" and "Miles Mode" and "The Promise". Hard to say in terms of the Airplane. I can't say that I hear Ravi Shankar or Miles Davis in the Jefferson Airplane either, especially considering that the major body of the Airplane's work was prior to 'In a Silent Way'. You can probably pick some of these influences out best on some of the passages on 'After Bathing at Baxters'. This is where it gets really messy, of course, with middlemen like John Handy and Charles Lloyd being influenced by Coltrane and then influencing the SF rock groups they're sharing Fillmore or Avalon or Golden Gate Park stages with, etc.

Experientially, I have to disagree with this. I came to jazz because I saw 'A Love Supreme' in a browser at my college library my first semester (fall '72) and recognized Coltrane as having been credited by the Byrds and Jefferson Airplane as a major influence on them (they were two of my favorite groups). That made me want to pick up the album and check it out, and that jump-started it all for me. I had no previous exposure to jazz that I had connected with whatsoever, no Miles Davis or anything. I would have probably gotten my information from Rolling Stone or one of the other national publications, like Creem or Crawdaddy, or from Lillian Roxon's Rock Encyclopedia, or from Robert Christgau or someone in the Village Voice. I used to read all that stuff at the library, soaking up information.

With you. To me, Tyner started overwhelming horn players (even strong ones, like Bartz and Adams) once Lawrence left. I saw Joe Ford live with Tyner at the Bijou Cafe, and heard him on the albums (which I have on CD where available), and to me he just gets swallowed whole in the music, makes no particular impression at all. But everything Tyner released in that era is well worth having, even the occasional ones with some commercial concessions like 'Fly With the Wind'. His playing is just breathtaking, and the title track is a beautiful composition. But with my buddy Al having dismissed both Tyner's Blue Note era (and therefore the mighty 'Expansions' and 'Extensions') and 'Sahara', I have no idea what to suggest next. If he thinks the title cut on 'Sahara' rambles, what's he gonna make of 'Enlightenment'? One last thought, I would love to see Lawrence's 'Bridge Into the New Age' out on CD. Also would be willing to lay down my $ for his 'Summer Solstice' on CD. When the Keepnews Collection starts putting out titles like that, they'll be onto something, though I'm thankful indeed for 'Horizon'.

1 - I think we're way off the mark to take any shots at Carl Jefferson. He had a clear vision, a clear love of the jazz he loved, and he executed on that beautifully. His Concord stayed true to itself, you didn't have to worry about the "sell out". If the Concord vision isn't exactly what I would have wanted my dream company to be, well, so what? No different than ECM, Windham Hill, Pablo, in the sense that they are companies with a great integrity towards bodies of music I have very mixed (not to say totally negative, there's some great stuff on each label) feelings about. For that matter, Fantasy wasn't such a great jazz company either. A few wonderful early 50's Brubecks, some cool Cal Tjader, and what? The issue at hand is them as holding companies of Prestige/Riverside/Milestone. Which Fantasy did marverlously and Concord has mixed early returns (Trane, Stitt, Evans, Miles Quintet boxes good, ad infinitum reissues of same titles and lame collections bad). And that has NOTHING to do with Carl Jefferson, who fought the good fight. 2 - Alan Lankin really is Alan Lankin. I know him personally. 3 - Dumpy Mama (who isn't really named Donald Peterson either, but I'll keep the secret) is a great guy. He messes with my name all the time in posts on purpose, and I love it. Nicknames are a sign of collegiality, not of disrespect. I'd hate to see this place get so stiff we couldn't have fun like that. I'm sure he was stunned by the attack on him about the nickname for Alan. I would have been.

The last I saw Alan, at the Organissimo concert at the Philly Art Museum in January, he was putting a lot of his efforts into photography. His newsletter was a huge amount of effort. I give Concord props for putting out Horizon, and I bought it immediately, but that and the Trane box (which I also bought immediately) are the only even remotely interesting things they've done in quite a while. Otherwise, still getting the third go around of straight reissues of the same old titles, plus the usual comps (Grandson of Miles Plays for Lovers) which aren't meant for us.

....yawn....zzzzzzzz

Both of the Panera Bread places near me pipe in non-stop hard bop, lots of Blue Note and Miles and Trane. I often go in and hang out for 90 minutes, coffee and a bagel, while my daughter is at dance class.

Her father came out publicly and asked her fans to STOP buying her CD's so that she wouldn't be able to keep up her destructive lifestyle and would be forced to get the help she needs. I haven't really heard her music, one of those musical things I expect to get around to someday without a lot of urgency attached to it.

A lot/most of it is now available on individual CD's, including the complete Copenhagen from our overseas friends.

The new Suzanne Vega on Blue Note. I really like her, so don't mind her being on Blue Note at all. Dodo Greene she ain't, plus there's not the internal pressure to be a new millenium Blue Note completist the way there is to be a 1947-1967 Blue Note completist.

I enjoyed the J-Mac'isms on his first three Novus CD's, and he ripped it up when I saw him live at a Penn's Landing concert in the early 90's (with Brad Mehldau making the best of a woefully out of tune piano). Then he made that strange Gil Evans-ish CD, was dropped by Novus, and I've never heard anything more about his doings. That's been about 15 years.

It's not terrible, but you don't need it. He uses that approach much more effectively on 'Caliente', one of the tiny handful of great contemporary "smooth" (Barbieri's playing is anything but on it) jazz albums.

Adam, have not heard it, will look to check it out. I love the tune. It's also done very well on that Corea/Lionel Hampton recording that shows up on hundreds of labels.

It's different than what Hancock was doing, more Clarke's answer to 'Light As A Feather'. Chick Corea, Andy Bey and Dee Dee Bridgewater on it, great stuff, especially "Sea Journey". Recorded early (1972), before the rot set in. I love it. I missed that this one was coming out again. I'll definitely pay to upgrade from my One Way CD of it.