felser

Great point! Afro-Blue-->Spanish Lady-->In Memory of Elizabeth Reed (really). I was thinking more "Whipping Post," but "Elizabeth Reed" is another good example. Duane Allman was an admirer of Coltrane. I got into jazz in '72 by checking out 'A Love Supreme' from my college library album browser. I was drawn to do so out of curiosity because Roger McGuinn of the Byrds and Jorma Kaukonen and Jack Casady of the Jefferson Airplane had identified Trane as a major influence on their work in the 60's. Similar experimenting with listening to Ravi Shankar did not produce the same joyful results.

Great point! Afro-Blue-->Spanish Lady-->In Memory of Elizabeth Reed (really).

Apples and oranges. I'll take this over any Ayler and almost any Ornette, and any late (post 'Transition') Trane except maybe 'Meditations', but they're very different things. Not for me. Understood, it's not your cup of tea. It's just very different than the guys you mentioned.

Apples and oranges. I'll take this over any Ayler and almost any Ornette, and any late (post 'Transition') Trane except maybe 'Meditations', but they're very different things.

Who was ahead of them on the same curve? I ask to make sure I'm not missing anything from that period that I will want to go back and check into.

Chuck, I know that was quite a period for the music. Was there anything else that sounded like that Handy group? The closest I can think of was the Chico Hamilton group with Lloyd and Szabo (and boy is THAT an underappreciated group. Why are so many of those albums OOP?), but they didn't have anything like Michael White, and weren't working in long form like the Handy group did here.

I can understand Columbia reversing the cuts, as "Spanish Lady"' is much more immediately gripping to my ears.

An amazing 1965 performance with the then relatively unknown group of Michael White, Jerry Hahn, Don Thompson, and Terry Clarke. Two genre-defining performances totalling over 45 minutes. Nothing quite like it had ever been widely heard before as far as I know, and the shockwaves throughout the jazz world were heard for the next ten years. Unclear to me why this groundbreaking performance seems so forgotten today and why it can't stay in print, because it was a sensation in it's day, and a seminal moment in my jazz listening experience when I was introduced to it in 1972 by a persistent mentor/salesman at Franklin Records. He said that if I didn't think it was fantastic, I could bring it back. Needless to say, I kept it. Handy made some more ground-breaking albums in similar veins for Columbia the next few years - the nightmare of 'Hard Work' was still a decade off. Hahn and White did some very adventurous work which never fit well into a given musical label (like this album didn't). Thompson and each Clarke did great work as a in a number of settings, including Thompson's participation on a great live album with Paul Desmond in the 70's.

She really did make her own mark on the music. Those first four Impulse albums were incredible works.

Lon, to each his own on that call. Main point I was making is that I hope to get a CD of the album rather than a download. As far as the session, I think everyone is right. I find "Money" silly, the title track thrilling.

So far I'm fighting the good fight, have not done i-tunes for the Shepp and Anita O'Day titles I'd really like to have.

Adam, I'm trying to hold off going that route. Peter Principle says it'll come out in Japan as a 1500yen release the day after I pay the ripoff artists at i-tunes for it.

Can anyone tell me where to get a decently priced CD of Archie Shepp - Things Have Got To Change? I should have grabbed the Japanese import of this on Dusty Groove several years ago. Thanks!

I'd love to see Odean Pope (but won't happen. I have seen him a few times through the years), and hope to get to Organissimo despite family scheduling conflicts (negotiations commencing). Negotiations successfully completed. I'll be there for Organissimo at the Art Museum, along with wife, daughter, and daughter's friend who is staying for the weekend.

I'd love to see Odean Pope (but won't happen. I have seen him a few times through the years), and hope to get to Organissimo despite family scheduling conflicts (negotiations commencing).

I hope this all works out OK. Blue Note did the same thing in the 80's (Tyner/McLean, Hubbard, Turrentine, Smith, etc. etc.) and the results were less than spectacular almost across the board. I'm not sure you can (or should) go home again. That being said, I'd love to see them record Harper and look forward to hearing the Tolliver.

I preordered it and the Tyner (and ordered the Lloyd and Blakey singles) from their website earlier in the week.

I've paid my $ for at least one version of any Trane CD that Impulse! (and Pablo and Atlantic and Prestige and Roulette, for that matter) have released, and would do so for this if someone owned the rights and put it out. And Temple University is on the short list of colleges my daughter may attend next year, and I buy every decent Alice Coltrane CD that comes out, so who am I cheating and in what way am I a hypocrite?

Jazz CD reissues seem to still be flooding out in Japan, for whatever $ reason.

I don't think the "pay it forward" has to be instantaneous to make the concept valid. It's more about creating an atmosphere of giving, sharing, and good will. I'm sure the guys will get around to it.

Operative phrase that seems to have been missed - " if the price is somewhat reasonable". That won't likely be the case on any of these. Most or all of the Chet Baker stuff is available on BN/Pacific Jazz. If you're willing to consider that European Copyright Laws have some validity, Definitive/Lone Hill have some great comprehensive sets on Baker and Baker/Mulligan that make a lot more sense than the non-Mosaic domestic reissues. Different portions of the Giuffre and Hamilton, and I believe the Shank, are available on domestic and Definitive/Lone Hill reissues, all at a much more cost-effective rate than the Mosaics.

so that people can easily tell what your comments are and where Felser's comments end. Then I will grant, quotes or no, that Robert H.'s comments were well thought out and did address my previous comments. We'll see what shakes out. DVD's were a clear advantage over VHS, as CD's were over cassettes and LP's. I just don't see it with downloads. But then, I'm a 40+ male who doesn't often buy newly recorded releases

It's not "inevitable" that downloading will replace CD's - IT'S ALREADY HAPPENED. What you are seeing is the transition taking place. The physical product is being sold only to older demographic who are hanging on to the product they have been accustomed to, primarily carrying legacy musics, which they tend to enjoy buying over and over again. Reality is quite simple. People today do not want product. They want CHOICE and SERVICE. They don't want albums. They want tunes. And they want them delivered to the carrier they choose. The reason the industry is undergoing this transition is primarily that it has historically viewed itself as a provider of consumer packaged goods - marketed as such. Today, music is not a CPG, it is a service product and the labels have yet to fully come to terms with that. Verve downsized for a simple reason. Sales could no longer support the staff size. Unfortunately, as the core buyers of physical product continue to age, there is simply not enough to support the staff size. Those that understand the new model will be successful. I dunno. Still feels like when the industry tried to replace LP's with cheaper to produce cassettes in the 70's, using the same argument about portability, etc. LP's didn't go away until a superior archival form (CD's) was rolled out. If people want choice and service instead of product, why did CD's outsell album downloads 18-1 in '06? (and based on that stat, it mystifies me when you state that downloading has already replaced albums. Not sure what you base that statement on, but facts don't seem to be involved). Even single track downloads didn't outsell CD albums - though I grant you downloads make more sense for single track disposable pop for the youth culture catered to by that market. I'll grant you that I'm part of the "older demographic" being so easily dissed in your discussion. Me, I still consider myself People, and I want PRODUCT. I want albums. And I want them on CD. And, based even more on my rock/pop/soul interests than my jazz interest, I have trouble believing I'm all that alone in this. And I thnk there's still many of millions of dollars to be made for the companies who can grasp and properly address THAT reality.

This will save me a lot of money going forward then, if there will be no more domestic reissues to buy. What little I spend will go to Fresh Sound, Proper, Definitive, and Lone Hill, I guess. And no doubt Blue Note will find a way to keep repackaging product, since it apparently sells sufficiently well.

2006 US sales numbers from an article in yesterday's Philadelphia Inquirer - album downloads- 32 million. Album CD sales 588 million. Don't buy the hype of the inevitability of downloads needing to replace CD's. Downloading is a singles, pop, disposable phenomenon.