danasgoodstuff

I'm going to have to count it now, but I think that if we do the whole run from '39 to '80 then things that weren't issued within 3 years account for roughly 30% of material recorded, including the handful that have never been released. Including many of the best things they ever did: Shorter's Etc.; Mobley's Thinking of Home; Lonnie Smith at the Club Mozambique; 3/4 of the Tina Brooks, and so on. The label's reputation would be much smaller if those 100 or so albums had never come out, and that easily could've happened. And the ones that were assigned catalog numbers at the time but then weren't issued with those numbers at the time, those are the choicest of the lot - limbo jazz, like Blue John which was talked about as if it had been released but hadn't been.

I'm good with Lou thru Pretty Things (that's the last one that sounds like Alligator Boogaloo, right?), but not after. I've heard a few of the post-comeback albums, the're ok but not like BN up thru the early '70s. all of that is fine, IMHO. Prestige made some nice records, different strokes for different folks - artists and audience. Generally I prefer BN, but there are any number of things on Prestige that I love too.

In case he blows the building down, of course.

I love all kinds of stuff (but by no means all stuff) from the '70s on, but don't love Prince. I honestly think there's a lot of wishful thinking/projection going on here - kid's obviously musical, let's make him the hero we've been looking for. Looking forward to jazz in the '80s. I know and love some stuff, but I'm sure there's plenty more I've missed.

Not a big Prince fan, but I don't get the need to say how much you don't like him, unless it's an emperor's new clothes thing - that I kind of do get. Saw him around the Twin cities a few times, dude was short! Looking forward to being reminded of some of the great music that was done in this decade.

That's just the short version AFAIK

Don't remember, but IIRC they popped right up on a simple search - both to listen to and to buy. Or maybe what I thought were downloads were actually just streaming. Looks like Amazon has the 'bonus tracks' as either streaming or mp3s.

I've listened to this online, and quite liked it. But some of my favorites were in the download only portion, I'd buy the physical product if it included those. Very frustrating.

I've always had mixed feelings about malls, at best, but it would be very strange to see them go.

I meant in the time intervening between original release and reissue, but the sense you're talking about is part of it too. Seems like I spend all my time just fixin' to get ready to do something.

Yes, and others as well. the thing that I think contributed most to their excellence was the luxury of having had time to think about things.

I'm very fond of this particular photo and have posted it in many places. One interesting response from the Steve Hoffman Forums was along the lines of 'Man, those kids were sure ready for rock 'n roll'. and yes, yes they were.

Some of the best writing I've ever read about jazz was in the liner notes to Prestige twofers, and some of the worst in the slightly earlier single LP reissues (lots of gratuitous swipes at fusion).

LA 1951, supposedly. Things were never as cut 'n dried as wanted them to be.

Bob Willoughby: Classic Photographs from Hollywood's Golden Age (ibtimes.co.uk) this IDs the photographer and discusses his work in connection with an ehibit of the photogs work, that would be weird if it was screwed up, but weirder things have happened. In any case it is a great photo.

It's been consistently ID'd by numerous sources as McNeely. Not saying you're necessarily wrong - there's a lot of bad info out there.

Urbanity is as real, and as problematic, as any other thing. I enjoy both men's work, and have reservations about both too. that's life. and art.

Big Jay McNeely, driving 'em wild. Lots of issues raised by this photo, but so what?

I think Cannonball always sounded like the school teacher he was, but not necessarily in a bad way. And Milt is slick, but not in a bad way either - people struggled for hundreds if not thousands of years to get to smooth and slick, fetishizing rough and raw is a recent thing.

If you translate from DG hyperbole to normal English, it's probably a pretty good period piece.

It's a Miles Davis ghost band for people who thought he died with Bitches Brew. Historically Important mostly in a negative way having to do with marketing, or at best a mixed bag - yes you could sell acoustic 'real' jazz, but only by dressing it up like free and fusion had never happened.

If, as has been widely stated, BN's break even during this period was in the low thousands, say somewhere around 2.500, then some thing that sold double that would be a hit and something that got to 5 figures would be a major hit. It would be fascinating if better records survived, but sadly they don't. i wonder how well you had to sell before BN thought you were worth a full color cover? Funny thing is, I think the three color covers are generally better; necessity being the mother that it is. The other thing I've heard is that the vast bulk of the jazz independents' sales came from a relative handful of specialty stores in major cities - few dozen stores in around a dozen cities, or not much more than that.

Not everyone reads liner notes as voraciously as I. And I should know better than to assume that they do.

TTK, You're right and this is a good reminder that everyone's experience is unique, but I did have the impression that this was well known. Supposedly BN would've loved to keep recording him but just couldn't afford to and Riverside had to pay off some small sum owned to Prestige since Monk hadn't made back his advance yet. Monk did varied but often good to great work for both, but to me he really comes into his own on Riverside and the Columbias are mostly coasting but often pretty good coasting. He and Milt had a real simpatico and you're not the only one to hear a connection to Raymond Scott, I think both Zorn and Don Byron would agree with you. If not for Riverside, Monk could've ended up like Herbie Nichols - a few interesting recordings cherished by collectors and then obscurity.

They wanted to show that he could indeed play, since the common perception was that he couldn't, So an album of Ellington, an album of standards, then Brilliant Corners. And it worked, Blue Note and Prestige had let him go because they were losing money on him. Riverside made him marketable to the point where he left them for Columbia, a major label. I'm kind of surprised anyone here would even ask.