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The Magnificent Goldberg

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Everything posted by The Magnificent Goldberg

  1. Sorry. (Daft bugger ) MG
  2. Good grief! A jazz critic who thought it was rubbish! MG
  3. And after all that whining, Dan Gould reminded me about the Onzy Matthews select, so I just ordered it MG
  4. MG, I'm not sure that the company had much of an "original promise". As I recall, in the brochure I received in 1986 (which was the first time I had heard of them), the explanation of the company was that two guys (Charlie Lourie and Michael Cuscuna) started the company to issue what they considered to be important music regardless of whether it had any commercial appeal or not. As I recall, they cited the Monk Blue Note and the Mulligan/Baker as sets they considered to have commercial appeal, and the Tina Brooks and the Herbie Nichols as sets they considered to be without commercial appeal. So from the start they said that they were going to issue music they liked and thought was important. They made it clear that nobody's opinion mattered but theirs, although later they asked for suggestions. I later called and placed an order with Charlie Lourie, and during our conversation I suggested the Four Freshmen and other vocals. Lourie dismissed the idea, and felt that there weren't any jazz vocals good enough! (Hard to believe, but that's how I remember it!) The "limited edition" nature of the sets was stressed, in the sense that "you should order now or forever hold your peace". It was never suggested that their products would become popular and would be good investments for resale. I agree with everything you say Hans. As I explained earlier in the thread, I myself thought that the initiative showed promise, not that the principals ever said anything to make me think they'd be doing stuff for me - I just thought they might. And, of course, they did, a bit. I would simply have wished that they'd have done more. MG
  5. I'm no expert, but I don't think clowns are necessarily supposed to be funny. The character is descended from the Commedia del Arte and that often didn't deal with comedy as we know it now. MG
  6. That's an excellent version and a really good cd. Good luck finding a copy though . Where's the smiley for "smiles smugly"? MG Inner City released a licensed version in America that might be easier to find. ^ Swot I sed Guv MG
  7. Maybe, but I suspect not. You'll like Lynn Hope, though. MG
  8. Those recordings, and many more, were recently issued as a Mosaic Select. Ah! I had the feeling I was missing a Mosaic. Which one is it, Dan? MG
  9. Earlier this morning Hank Crawford & Jimmy McGriff - Soul survivors - Milestone orig Hank Crawford - Roadhouse symphony - Milestone orig Hank Crawford - I hear a symphony - Kudu orig MG
  10. Didn't they actually come out with that last one? Mosaic MD4-178? "The Complete Blue Note Blue Mitchell Sessions." Is the title of this set in error? "Collision in black" and "Bantu village" are missing from the Mosaic. The title of the set is not, however, in error. "The complete Blue Note Blue Mitchell Sessions 1963-1967". The missing items were recorded in 1968 and 1969 repectively. (It's like the small print on an insurance policy that means you won't ever be able to claim.) MG
  11. Oliver Nelson - Stolen moments - East Wind US Inner City issue Melvin Sparks - Akilah - Prestige orig Wynton Kelly - Full view - Milestone Fantasy pressing Rev Maceo Woods - Garden of prayer - Vee-Jay Trip reissue Swan Silvertones - My rock - Specialty Original Five Blind Boys of Alabama - Oh Lord stand by me - Specialty Dixie Hummingbirds - Prayer for peace - Peacock orig Inez Andrews & the Andrewettes - The need of prayer - Songbird Vogue France issue MG
  12. And a period of time in which they've got your money and you haven't - or you owe it to the credit card company and are paying interest on it. If they have enough customers, even a few days like that, multiplied up, means a good chunk of interest to them at overnight rates. MG
  13. Two more from my recent OJC order turned up today Fantasy included as bonus cuts on the Griff/Jaws the ones they missed out from the reissues of the Minton's set. Concord REALLY ought to think of a decent box covering all their Prestige and Riverside/Jazzland albums. Just starting to listen to the Adderley now. Sounds more than fine. MG
  14. The wonder show of BBC radio - I'm sorry, I'll read that again - Parlophone orig DG (with John Cleese, Graeme Garden, Bill Oddie & Tim Brooke-Taylor) Johnny Otis - For adults only; Snatch & the Poontangs - Snatch (UK pressing) MG
  15. Back in the day, the British market was pretty different from the French and German markets. There were very few hit records right across Europe. Philips, the Dutch company, and EMI, had Europe-wide operations. Most countries had their own major companies operating mainly in those countries such as Polydor/Deutsche Grammophon in Germany; Vogue in France; Decca and Pye in Britain (there were indies as well). Basically, these firms understood their rather different markets in those days. It was normal practice for even the major American companies to license their material to the national majors. US Columbia was licensed by Philips across Europe; US Decca, WB and RCA Victor by Decca in Britain; MGM and Mercury by EMI; Capitol was a subsidiary of EMI even then. What the US majors did, the independents couldn't improve on and they also licensed their material (the exceptions were Blue Note and Riverside, whose albums were imported from the US and pretty expensive). Most indies licensed their records to Decca, who marketed Atlantic, Dot, Imperial, Chess, Sue, Liberty, United Artists, Monument, King, Cameo, Hi, Kapp, Jamie, Contemporary and Duke/Peacock and Pacific Jazz (all three in association with Vogue), Savoy and many others in Britain. But some small British companies got some action, too. In 1962/63, Oriole were handling Savoy, and Motown, which had previously been handled in turn by Decca and Philips; and in the late fifties/early sixties, Esquire, as noted, were handling Prestige. But the licensing situation was pretty fluid because licensing contracts seem only to have run for a few years. And the agreements only affected one country - in the sixties, Chess was handled in Britain by Decca, then Pye; in France, Barclay handled the company's product (at least for some of the period). During the early sixties, many US indies saw some value in getting their own trademarks known and negotiated with their distributors for some kind of label change, either incorporating their logo into the British label (Atlantic, Verve, UA and Dot), or having their distributor start up an explicit label for them (Liberty, Chess, UA, Cameo, Atlantic, Stax, Sue, Motown and Verve). US Columbia was the first American major to open a branch in Britain, when they bought Oriole, which owned its own pressing plant, in 1963. Because EMI owned the trademark Columbia, a legacy from the days when US Columbia went bust and was acquired by its former British subsidiary, the label had to be called CBS. That company operated across Europe. Following that breakthrough, more US companies opened British offices, including Blue Note (then owned by Liberty - but it was a Blue Note office, not a Liberty office; Liberty was being distributed by EMI at the time). MG
  16. Very surprised last night that Kalamu sent me a download of a track Concha had made with the Trubie Trio; from the Louie Vega album "Lust, art and soul". Looks like something else to get. "Mo' money! Mo' money!", as Fred Wesley said. MG
  17. Lita Roza Miklos Rozsa Rozzer's Dog
  18. That's an excellent version and a really good cd. Good luck finding a copy though . Where's the smiley for "smiles smugly"? MG
  19. I didn't know Grover Washington had recorded it. What album is that on? MG It's on 'Then and Now' from 1988 on Columbia. Thanks Guv. MG
  20. Good holiday, Weizen? MG
  21. I didn't know Grover Washington had recorded it. What album is that on? MG
  22. Hey, the pix have all gorn! MG
  23. I love the French Atlantic labels of that period. If the label's stuck on correctly, the way the logo goes round on the turntable makes your eyes go all funny. MG
  24. I didn't know Barclay was issuing Prestige LPs back in the fifties. Interesting. Mut have been around the time Esquire were issuing them in Britain. MG
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