felser

It is "sucky". It's a illusional/delusional "reality" that people buy into. It's a rationalization for simple, old-fashioned greed. And it has but one eventual outcome. Shareholders who value the notion of a "good-enough" profit that comes accompanied by things like long-term social responsibility and a respect for cultural values had better start speaking up loudly and immediately, before it's too late, if it's not already. WAKE UP!!! Wake up! is helpful and appropriate for a sleeping man, but useless for a dead one.

Always has blown my mind that they got that one past the censors in the 50's, but "Eight Miles High" (about the Concorde, but used the word "high"), "Eve of Destruction" ("Think of all the hate there is in Red China, then take a look around at Selma, Alabama" was enough to get it banned in the south, including Huntsville, Alabama where I was living. I never heard it until years later when we moved back to the north, even though it was a #1 song nationally), "Give a Damn" ("And if I begin to teach you, how to give a damn about your fellow man") all got banned in different places in the 60's, and "Flood" got pulled from playlists immediately in the 90's when someone figured out they were talking about Noah's Ark rather than about existential angst.

I like 'Multiple' a lot (Larry Willis on Electric Piano - I think it was my first Joe Henderson album) and 'The Elements' is interesting, with Alice Coltrane and Michael White. Both sound pretty dated, and neither could be dubbed essential but both are nice to have. Canyon Lady isn't bad, either. 'Black Narcissus' and especially 'Black Miracle' are the really weak sessions on the box. Joe goes ECM and Joe goes George Duke Funky respectively. I guess it is just the three titles not released on domestic CD. What are the details on 'Power to the People' being rereleased? ie Who's putting it out and when>

I'm sure it will be. It's the only business model that makes sense for them. Sonny Rollins and Monk can't be far behind. What are the two upcoming Trane boxes? According to the Fearless Leader booklet, two more Prestige-era Trane boxes are due - one focusing on his albums as co-leader (w/ Burrell, Quinichette, etc.) and all-star jam sessions, and the other his sideman work. Combined with Fearless Leader, you'll have everything that was in the previous Coltrane Prestige box, albeit with improved remastering and in smaller, easier-to-digest chunks. Thanks. That's a great way to handle it, though I could live without paying for yet another reissue of his stuff with Miles, since I have the Miles set already.

Now THAT'S an assessment we can ALL agree with! Good place to end the other conversation and move on.

And 450,000 other people do, too.

Well the majors do often pay royalties and I suspect always pay songwriters. (The fee is set by congress!) And when American independants put a lot of time, money and effort into reissus such as the early Charles Mingus box from UpTown they are often ripped off by the likes of Lonehill and Proper. (Ask Nessus.) It's also not a matter of making a profit. It's a matter of making a larger profit than if you invested the money elsewhere. If you're not doing that, you are doing a disservice to your shareholders. I know that sounds like a sucky way of looking at things to many people, but it is reality. I certainly prefer to see bigger rather than smaller appreciation in the stocks that I own. Privately held labels don't have this constraint, which is why you see more product of interest to us coming from them. You're right, of course, on the reality of how things DO work as far as ROI and shareholders. I work for Siemens, all $80 billion in revenue a year of it, so am much too painfully familiar with the concept, live in the world of "What will maximize our returns THIS QUARTER?". Wish the NEA would underwrite some jazz reissue programs or something. Something happened with that Uptown Mingus release where it had to be pulled from the market for some legal reasons. I never did get the whole story. I'm sure someone will chastise me and pull out a link on it from way before I was involved with this site.

Doc, Recommend you make a choice here. Do you want to spend your posts addressing the discussion at hand, in which case a few people may keep reading your comments, or do you want to spend it dissing anyone who doesn't meet your qualifications of "authentic", which to varying degrees seems to be most anyone that would dare question you on anything. If your posts keep being of the latter variety, you'll deservedly lose your voice here, through the "ignore" options, either on the site or in our heads.

Figured that was the case, but since I'm the guy selling the box, I want to make sure I'm honest with everyone about it. Not every Henderson album on Milestone was a joy, some were painful to experience, but they were like the little girl with the curl, when they were good, they were very good indeed, and that was most of the time (and all of the time early on).

Parts of it in the later years are not that compelling musically due to the trends of the times, but the box is nonetheless valuable as a time capsule of the evolution of the music (for better and for worse) throughout the era, and much the earlier stuff is wonderful indeed, and the tenor playing is fabulous throughout. It's not something like the Art Pepper Galaxy box where every cut demands to be played again and again, but it's a nice set on many levels and I'm real glad to have it. Almost worth the price of admission for the In Japan stuff alone.

This isn't a case of our desires pulling the companies into a new format, it's a matter of the companies attempting to push us to a more profitable business model for them. Since the advent of 8-tracks, the market has always supported two recorded formats, one archivally superior (LP's, replaced by CD's), and one more portable/convenient (8-tracks, replaced by cassettes when Dolby noise reduction became commonplace, replaced now by downloads). The argument that downloads are a technological advance to replace CD's is not valid. As far as profitability, if LoneHill and Fresh Sound and Proper can figure out how to make jazz reissues work economically, the majors could if they wanted to. They're just greedy, don't want to be bothered with anything that doesn't offer the chance to generate big bucks. I'm willing to wait for the time the European copyright laws (and why do board members consider those somehow less valid than US copyright laws? They're more sensible) make titles available for European reissue by the LoneHill's and Fresh Sounds' rather than paying top dollar for the inferior download product Universal is foisting on us. Reissuing Gary McFarland sessions matters to the European independents, and I'm glad for that.

Ironically, JB had nowhere near the influence on my (white, middle class, teen) consciousness at that time that Dr. King, Curtis Mayfield (especially "Choice of Colors", but also "Get On Up", and in the moral arena "People Get Ready" and "(If There's A Hell Below) We're All Gonna Go", and other songs) Marvin Gaye ("What's Going On", the song and the album), and Sly Stone ("Everyday People", "Everybody Is A Star", even "Dance To The Music") did, just to further muddy the argument/discussion. And you haven't fully experienced the dialogue until you've read Dave Marsh's writing on how Smokey Robinson broke him of his rascist upbringing through the humanity conveyed in " You Really Got A Hold On Me".

Yes we are.

Set sold to Yves, thanks.

Eight CD box set containing all of Henderson's Milestone recordings, contains 12 complete Henderson albums and a host of sideman and unreleased cuts. Two of the CD's (#2 and #4) have very slight nicks which do not affect play. The other six discs and the book are immaculate. The outer box has slight wear on the bottom corners, but is in fine shape. Most of the music on this box has never been released on CD in any other format in the USA, and maybe never will be now. Essential set for any serious jazz collection (this is an extra of the set I have). About as good a picture of the trends in 60's-70's jazz as you could hope for in one package and, it goes without saying, majestic tenor playing. Best reasonable offer in cash or trade. Email john.felser@verizon.net or PM me if interested.

I also have no need for the " five most important" discussion, but I think the "what makes a person important" question is pretty fascinating.

Disagree, I think. While I often don't "get" his posts, and often don't agree with them when I do get them, I find them passionate, thought out, and worth reading. To quote Clem himself, when I read his postings, I come away with "equal degrees of admiration and bafflement". And I did appreciate that he was able to get through two long posts this morning without once using the f*&% bomb!

Monk DVD to Mark, compliments of the season!

I have a legit extra of the DVD portion of the "Monk in Paris" set to give away. Also comes with the booklet from the set. Recorded in Oslo 4/15/66. Monk/Rouse/Gales/Riley doing "Lulu's Back in Town"/"Blue Monk"/"Round Midnight". Running time is about 25 minutes.

What the philosophers would refer to as a "necessary consequence" of what's being discussed in "Are jazz reissues dead?".

Lon, buy it for the remastering and the unreleased stuff (which is substantial, about two albums worth), and sell your old stuff on ebay, which will pay for the new set. It's well worth the effort.

That sound bit at the end of 'Last Date' is chilling! My absolute favorite Dolphy album, bar none, especially "You Don't Know What Love Is".

I really liked the Van Morrison, Rory Gallagher, and Suzanne Vega Montreux DVD's. CD-wise, Beth Orton 'Comfort of Strangers' and the continuing 'Instant Live' series of Allman Brothers concert CD's are the ones I can remember right now.

Yep. I like Chewy from some good dealings we've had offline exchanging CD's, hope to see him learn to post in a way where he will be able to gain some credibility in the neighborhood rather than being dismissed out of hand. He's a good guy.

Right, by all means, let's not encourage people to think before they talk, or seek any proper perspective, let's just escalate name calling. After all, we got da rhythm (pre and post JB). What else could possibly matter?