Chas

For the record , I never have and never will link to a free download here . That said , I certainly don't think it unfair to link to a "legitimate" site offering a lower price than one offered by a seller here , or to offer up one's own CD for a lower price . Erik chose to duck this question , so I hope you'll give it a shot : tell me why I should categorically place the interests of sellers over buyers , and how this is fairer than giving equal weight to their interests ? Erik -- I really feel that you're being disingenuous in denying that your objection to my post isn't based solely on the illegality of free downloads . If you feel so strongly about it , why not stop the sanctimonious posturing and try and put together a cogent rebuttal to the arguments against the current musical copyright regime that I made in this thread ?! Appreciate the effort Al , but my earlier attempt at jocularity with this bunch in here should have demonstrated the futility of it .

Here are two of the late-Sixties Savoy LPs that a lot of people have never seen : Marzette Watts' 1969 date : Robert Pozar's 1966 date : I haven't heard either of these , but would buy the Pozar for the cover alone !

If the illegality of the download is not the issue for you (and I think it is) , then you need to provide some reason why one should put the interests of "upstanding" member-sellers ahead of "upstanding" member-buyers . My post did not "effectively suggest" that one not buy Scott's CD or that one should download the album , merely that the price seemingly didn't reflect the availability of the third option I noted , coupled with a measure of ridicule for any fully-informed buyers paying that price . Ridicule I might add , which you yourself have engaged in when posting to the "Ebay craziness" thread . Given that your posts in that thread are free of any concern as to whether or not the seller might be an "upstanding" member here , I'd say your post in this thread looks pretty hypocritical .

Laton , here is Marc Levin's 1967 Savoy LP The Dragon Suite : And here is the cover of the BYG issue (gatefold jacket) of The Dragon Suite :

Shawn , here are the two other Lateef Savoys :

From today's Bulletin Board Daily Bugle -- " High-tech lynching of uppity Organissimite averted as posse can't be raised on long-weekend . "

Yep . Are there any other rare Savoy covers you'd like to see ?

A C-note on Amazon or a free download in blog-land ; I guess 50 clams is the split-the-difference price for the object-fetishist/golden-eared/"principled" folks

I've gotten used to my lawn maintenance goats , but I'm having a harder time with making the switch to kerosene for my Molotov Cocktails .

Biggest pic I could find : Laton , I've got loads of seldom-seen cover scans ; if you're looking for something in particular let me know . I enjoy the themed cover art threads that occasionally pop up around here . One I've thought about starting is one devoted to 10" LP covers that were lost in the transition to the 12" LP . I'd think we have enough cover-hounds knocking about in here to make this a viable thread , yes ?

May 2008 WHRB Orgies : May 9 & 11 : Cecil Taylor May 13 & 14 : Ethiopiques May 14 & 15 : Fats Waller May 16 : Mildred Bailey May 18 & 19 & 20 : Various Artists recorded live in Paris May 29 & 30 : Eric Dolphy Detailed Orgy Schedule here

A couple of thoughts - While the effect of trade liberalization on income inequality among workers may be relatively small or diminishing when compared with the impact of technological innovation , its impact on the relative share of national income going to labor may be larger and growing . Labor compensation in the U.S. has not kept pace with productivity gains over the last couple of decades , and increased trade with low-wage , low-capital countries , facilitated by increasingly mobile capital , is likely contributing to the growing share of U.S. national income going to capital in the form of corporate profits . American opponents of liberalized trade with poor countries understand that such trade always* increases the national incomes of both the poor country and the rich one , but their concern is that as with all such aggregate measures , this is compatible with there being many more individuals in a given country who are net losers from free trade rather than winners . These losses they contend can be of such magnitude and duration that a political response in the form of wealth transfers is needed . In the U.S. , the existing inequality in the distribution of wealth , and hence of political power , renders the prospect of such transfers highly dubious . *That is , over some sufficiently long time horizon . Over shorter time periods ( decades ? ) it may turn out that on the international level of trading blocs , just as on the national level , the economic gains and losses are just as inequitably distributed . Given the difficulty of political remediation at the international level such an outcome could become a casus belli for the loser countries .

Every year during the 90's I would write to Fantasy president Ralph Kaffel with a list of ten or so albums that I felt were worthy of reissue in the OJC series . The Sleet was always among those albums . Nothing came of my requests until I put Don Sleet's brother David in touch with the folks at Fantasy . He in turn enlisted some of the people who had played with Don such as Mike Wofford and John Guerin to lobby as well , and Fantasy came through . I guess you could say I was kind of a midwife to the re-birth of this recording on CD . Fantasy altered the cover art for the CD a little , adding a pink tinting and cropping the cover photo a little . And as usual , they omitted the photos that appeared on the back of the record jacket , in this case one of Wynton Kelly and one of Jimmy Heath . The CD itself sounds great , with all praise due to Ray Fowler and his original recording . As to the music , well the first thing that makes an impression is Don's tone : clear , pure , bright and brassy . He moves around the horn with ease , has good range , and is not given to flashy displays of his considerable chops . Mr. Consistent Wynton Kelly is beautiful throughout both in support and in his spots . Sometimes I think Wynton couldn't not swing even if he tried ! Ron Carter is solid , except during Brooklyn Bridge , Fast Company and All Members , when he pulls out his bow and brings the swing to a crashing halt in just the way Paul Chambers used to do . Jimmy Heath's phrasing and tone provide contrast with Sleet's , but solo-wise , at the end of the record it's Sleet and Kelly who leave the biggest impressions . The high point of the record for me is the closing number , The Hearing . I love the moody opening statement of the melody by the horns over Kelly's ostinato and Cobb's sock cymbal , and the contrasting emotional color of the bridge . Sleet turns up the heat during his solo without sacrificing any of the elegance of his swing . The earnest , yearnings of Heath follow , after which there is a Wynton Kelly solo that is the very epitome of swing - just try and keep your body from moving during that one ! Footnote : I have always thought that 'Fast Company' would have been a much more apposite title for this record given the sidemen and given that it's the only Sleet composition on the record . Further footnote : I think we can agree that Don Sleet was certainly a 'talent deserving wider recognition' , and may have had the misfortune to come on the scene at a time when giants walked the earth , but it would be facile to infer that this led to his drug abuse and ultimately the lymphoma that ended his life at 48 . Or maybe it's just too sad to connect those dots...

It may not be a product of your imagination , but it is nonetheless a subjective projection as per your, "All music, all music, "holds an intrigue and depth which" we create ourself." Fair enough , but doesn't such a subjectivism render your use of the expression "real musical substance" meaningless inasmuch as it implicitly references an objectivist distinction ? An epigram worryingly reminiscent of the kind of commodified dissent peddled by the likes of Nike.....

Not to mention the cost of those red handkerchiefs tucked into the cover of every box-set Full marks to Bethlehem for completeness , but from a jazz perspective this set should be purchased only by those who already have the Davis , Potts , Lowe , Collette , and Burns versions . After viewing this clip it's hard not to fault Bethlehem for giving the leads to Torme and Faye rather than Hartman and Roche .

I enjoyed reading that Mark . Thanks for sharing .

According to Doug Payne's site the versions of Lillemor and Please Don't Leave (Me) that are on "Calypso Blues" are not the versions found on the 1964 Argo album "Summer Dawn" , so that album has yet to see a proper CD reissue . A real pity , since that is a great album , composition-wise , performance-wise and sound-wise . The "And All Those Cats" CD does include a previously unissued short track from "Summer Dawn" that I look forward to hearing when that album receives the CD reissue it deserves .

The album is "It's About Time", and it smokes! RCA released a CD entitled "Joe Morello" back in 1989 that contains part of the LP, plus about half of a second album that was never released. That's a maddening CD that one . The following four tracks from the original It's About Time album were left off the CD , though they would have fit ! : Just In Time , Fatha Time , Time On My Hands , I Didn't Know What Time It Was . Strangely , these last two tracks aren't even in the Bruyninckx or Lord discographies . No mention in the CD liner notes about the missing tracks either .The topper is that the CD reissue producers saw fit to include one previously unissued track from the first album while chopping four previously issued others .The previously unissued second album with its typically bland Albam arrangements is something I could have comfortably lived without , and while that might also be true of those four left-off tracks , I'd like to make certain . Anyone oblige ?

So your favorite date of hers is one on which she doesn't play ! Given their stylistic overlap I can understand someone mistaking Mance for Bown , but how does someone mistake the performance of one artist for the "favorite" performance of another

Apart from this cover pic of her second Prestige side , I don't have anything to add here except that I've been mildly curious about Bowie . Of course since I'm curious about any obscure jazz artist that really doesn't mean much does it

What do the stars mean? There are people who have been banned who have them while plenty of others who have made real contributions here have none , so I'd say the stars mean absolutely nothing....

Ghetto Music has the kind of cover that really makes you want to find out what kind of music is contained within ( in addition to making you want to watch The Omega Man again ) . I have absolutely no problem with any of the vocalizing/chanting , but I can't abide Eddie's trumpet playing

I wouldn't venture to say what her finest work was , but I agree with you that the Columbia album was not impressive . I no longer have it and thus can't re-check that impression , but I don't recall her having a truly personal conception , particularly with respect to her blues playing . A very fine and under-appreciated Nelson record to be sure , but her presence on it has gone unremarked by me all these years . I will listen again with particular attention to her contribution .

I'd like to point out the fallacy of presumption inherent in this ideologically-driven line of argument . The assumption that avoidance of regulatory controls causes recklessly greedy behavior or results in greater excesses than laissez-faire policies is absurd . Obviously the causation runs the other way , as regulatory controls are the result of , not the cause of , such excesses . The fact that people will find ways around laws is no reason not to have laws except in those cases where non-compliance is so widespread that enforcement costs outweigh the social utility of the law . Needless to say , the presumption that financial regulations are of this type is purely ideological rather than empirically grounded .

More conservative lending ( income verification , increased down-payment requirements etc. ) mainly affects the availability of long-term fixed-rate mortgages not their cost . Unlike short-term adjustable-rate mortgage rates which are affected by Fed rate cuts , the rates on longer-term fixed-rate mortgages reflect long-term bond yields which are themselves a reflection of inflation expectations ( the persistent offshore bid under Treasuries from foreign central banks certainly complicates inferences from bond yields to inflation expectations , though that support has weakened of late ) . In any event , long-term mortgage rates have been downward sticky and not followed short-term interest rates down because the recent series of deep Fed rate cuts is occurring against a backdrop of rising inflation , thus stoking fears of even greater inflation over the longer-term . In addition , with mortgage originators having more difficulty selling into the increasingly risk-averse secondary market , they are now having to keep new loans on their own books , meaning that risk is now being more accurately priced , putting additional upward pressure on long-term mortgage rates .