Chas

Judging by your example it seems you have psychedelic covers in mind . The problem with that is that we could fill dozens of pages with rock covers fitting that description . Trying to limit it to jazz covers would make things more challenging and keep the thread from being so bloated that few will bother reading it . Anyway let's start with a few psychedelic jazz covers....

I'm guessing Mike hadn't heard Kuhn's recordings from '71-'72 when he made this comment . During that time , on recordings for Buddah and Cobblestone , Kuhn started singing , and even worse , started reciting his own doggerel . I don't know if Gary McFarland encouraged this , but it does mean that the Kuhnian corpus is not unblemished . At any rate , there are lots of good recommendations upthread , to which I would add the recording mentioned here .

So you're wondering , "What's this cover doing in this thread" ? Answer : it's a record by singer Jerri Winters on the Fraternity label , featuring an all white cover , save for a little tuft of grass next to the album's title , "Winter's Here" . Designed by my favorite cover designer , Burt Goldblatt , it's perfect for this thread don't you think ?

Aluminated you say ? Must have been one of those silvery moons then...

Tenorman Henry Durant didn't record much , but he did manage to record a session with Horace Silver and Art Blakey in 1954 . Organist Milt Harris came out of obscurity to record a half-dozen LPs with Johnny Lytle before returning to obscurity . EDIT : Another out-of-nowhere cat was trumpeter Johnny Splawn , and one of my favorites , pianist Austin Crowe , was another .

The personnel is right on the original record label , and the tenor player is credited as 'Ted Efantis' ( not 'Ted Elefantis' ) . Teddy Edwards didn't do any recording in 1955 or 1956 , so he likely wasn't under contract with anybody , and even if he were , your theory that he knew Efantis and used a corrupted version of his name as a pseudonym is........ :wacko:

That's the title cut from Understanding , but BJP didn't write it .

Should we assume that the choice of a Columbia set over a Roulette set had something to do with EMI's licensing fees making a Roulette set uneconomic ( even though a Roulette set would sell more copies given the comparative difficulty of finding the original LPs ) ? I have all the Roulettes and all the Columbias , and think on a musical basis the Roulettes should have been the choice . Of the Columbias it seems that the Monterey LP gets all the praise , but for me the best album of the series is Projections . This is mostly due to the presence of Mike Nock and the three compositions he brought to the date . The album was done right before Nock took Michael White away from Handy and formed one of the truly unsung jazz-rock bands , The Fourth Way . Handy recorded three albums for Roulette - Quote , Unquote is a reissue .

Something about James Spaulding's tone and phrasing on alto makes me feel like I'm sharing a jar with a very angry insect . His flute work I like very much though . I don't have a problem with Sam Most's or Roland Kirk's overblown , vocalized flute work , but Jeremy Steig's I find histrionic . EDIT : How could I forget Paul Chambers' god-awful arco bass work !

My saying that accessing public domain materials is a morally legitimate activity should not be read as a moral endorsement , but rather as a denial of Reinier's contention that it is morally illegitimate . It isn't illegitimate , in the sense that it is not a matter of morality whatsoever .

We're obviously mere mortals who need guidance... Both of you need to put aside your personal antipathy ( if you're able to do so ) and go back and read more carefully . It is Reinier who is telling you what is morally correct for you to do . I'm not telling you or anyone what morality requires . In fact , my position is that copyright law is , both as a matter of historical fact and philosophical consideration , not a matter of morality at all , in the sense that copyright protection exists at the discretion of and in the interests of the public , rather than arising from some obligation on the public to afford legal recognition to some extra-legal (moral) rights of copyright holders . I challenge you or anyone to offer reasons to the contrary . My insistence on reasoned discourse should only irritate those without the intellectual capital to meet the challenge .

A matter of principle ? You flatter yourself . Copyright law exists as an expression of a public purpose not as a recognition of some pre-existing moral right for you to be 'principled' about . Ignorance of this ( willfull or otherwise ) when combined with a strong desire for moral agency leads to the absurdity that is copyright fundamentalism . If you choose not to avail yourself of public domain music that's your business , but spare us the self-righteous counsel not to engage in what is a legitimate activity both legally and morally .

Vince Guaraldi - A Charlie Brown Christmas

Everything I've posted in this thread is from the Life Magazine Archive of course . Here's a shot of Bop City taken on opening night in April 1949 : And here's Billy Eckstine with wife June at Bop City on opening night :

Hair relaxer + perm = slickness !

I know others here will disagree , but George Braith's Prestige side Musart is a one-track pony for me . I expressed my feelings about the album in this earlier post .

Where and when were these taken ? :

I'm not prepared to wade through 5 pages, so sorry if this repeats what someone has said, but Benny was stunning on bass clarinet on "Bitches' Brew". It was kinda like part of the rhythm section, and easily the best bass clarinet since Eric Dolphy. Want to avoid ? Use the 'Search Topic' function .

Since the first two of those are on a Collectables double-CD , I presume you're not happy with the sound of that set . I have it , and while no CD can match Columbia vinyl of that era , the sound is decent especially in comparison to some of the earlier Collectables CDs . The third and final Columbia , Impressions Of Cleopatra is one I recently recommended in the flute thread . It is alas , only available on vinyl and would be most welcome on CD .

Prefer all you want , but unless you're prepared to argue for the assumptions underlying that preference , don't think for a second that such a preference is morally privileged simply in virtue of whatever emotional appeal it may have .

Groove echo http://members.tripod.com/~Vinylville/groove-echo.html

Re: Mosaic - It's doctrinaire in the extreme to boycott Mosaic on the basis of the packaging , but that being said , I never have understood why "the Mosaic treatment" means ( at least with respect to the big box-sets ) being respectful to the original artists and music but not to the original cover art and the original liner notes . As mentioned , a lot of the covers are indeed available online , but the same can't be said of the liners which , although often far from illuminating , are sometimes very worthwhile .

Let My Children Hear Music !

Velvet Moon , the old Harry James hit ? Not really a jazz standard though .