Rooster_Ties

Oh, right — those were Japanese only too.

Those might be THE most whack examples of cover art in the entire ‘legit’ Miles catalog.

Agree! I never had the original 7-disc Japanese set — but that reminds me… I “ran into” a fellow Miles fanatic online around 1992-93, who made me cassette dubs of the whole Japanese set — and then I got the US 8cd set a few years later. But it was well over a decade later before I ever saw (online) what the original 1992 Japanese packaging looked like… https://www.discogs.com/release/8071963-Miles-Davis-Complete-Live-At-Plugged-Nickel-1965

That’s an excellent question!!

QUESTION: Am I just hallucinating that there was a disc of all Tina tunes?? (or nearly all Tina tunes) — recorded by somebody more recently? (Within the last 25 years, more likely the last dozen years.)

Spot on.

https://www.billboard.com/pro/miles-davis-publishing-catalog-rights-sold-reservoir-media/

I have the Town Hall Uptown on just now… And looking at the copyright date on the tray-card, I hadn’t realized it’d been nearly 20 years since it came out (Nov. 2005) — and 22+ years since this thread first began. Where does the time go??!!!

Tempting!!

I’ve been meaning to explore more of his recordings for a while now (years, actually). I only have a few Dave Scott discs that Perry is a sideman on — and a few larger-group contexts he’s on, but I’m not sure how much solo space he gets (like with Maria Schneider and several other big bands). http://richperrymusic.com/discography/ I wish there was somewhere — at a glance — I could survey (see) who are the various sidemen on Perry’s leader-dates. Which ones have other horns on the front line, and who — and what kinds of rhythm-seconds (with piano, or organ, and/or maybe guitar — and if any maybe have vibes). 30 albums is a LOT of leader-dates, and I’m sure I’d be game to try and focus on (get) half-a-dozen — if I could just figure out which ones — and I’d probably love most of them, I imagine.

I was totally unaware of Catalyst before this thread appeared last night. QUESTION: What would be the second strongest of those four albums?? I streamed most of Perception on my walk into work this morning, and i was pretty much blown away by it — YOWZA!!

I had no idea of this release! Damn shame it’s not on CD, or not that I can see. I asked Michael very specifically about that in person at the Library of a Congress in 2014 (after a panel talk he was on with Jason Moran and Lou Donaldson) — after he’d eluded to some live Hill thing when he was doing some press for Freddie Hubbard’s Without a Song: Live in Europe 1969). Michael said it was not some old(er) archival recording — but it referred to some larger live group thing recorded in the UK more recently (mostly with UK musicians, augmenting his core US quartet, iirc). Or if not UK, somewhere in Europe, or maybe Scandinavia (maybe Finland?) — but I’m thinking it was the UK. In any case, definitely not a Hill trio thing (which I would have loved to have heard).

Anyone know how this would affect an order from Amazon France? (I’m eyeing a new release David Bowie box that ships in about a month, which seems to be dramatically cheaper from Amazon France specifically for some odd reason.)

As much as I like Andrew’s music — if I’m being honest, it’s really probably more that I really love rediscovering Andrew’s recordings — WHICH, nearly every time I listen to them (whether it’s been a couple of months, or a year since I’ve listened to a particular album), it’s almost like hearing most of them for the very first time. Not exactly, and less so for Black Fire (which I’ve probably heard the most often) — but for practically all of the rest Andrew’s catalog, it’s a little almost like don’t know these recordings, no matter how many times I’ve heard them before. They’re (almost) always ‘new’ to me — or hearing them is more like hearing them for the first time, to a degree unlike nearly anything else in the entire Blue Note catalog. I might (almost) love most of Andrew’s BN output — but what I really love is how they’ve kept me guessing with their unpredictability, for 30 years this year. I got the Hill Mosaic big-box in 1995, my second-only Mosaic purchase, which I really only got because of all the sidemen on it — and I’d only ever heard Point of Departure before that, and didn’t really know what to make of it, neither loving nor hating it back then. And it also took me a solid 5 years(!) to even half-digest the Hill big box. All that said, I also don’t see him as some monumental jazz ‘auteur’. Every musician I’ve ever talked to who played with Hill for any length of time has described some experience similar to having questions (lots of questions) for Hill about what to do here, or the meaning of vague charts (to put it charitably) — nearly every time, Hill’s reply was a quiet/tepid “what do you think? He seemed like the LEAST assertive ‘leader’ in all of jazz. And yet, one could perhaps argue Hill’s actual approach wasn’t all that different than Miles — hire great and creative sidemen, and leverage their strengths. (And Hill probably did arguably ‘write’ more in his process, than Miles did in his.) Anyway, I love Hill’s Hill’s BN’s — but largely because of the way they seem to almost force “continual rediscovery” — at least in my case.

Just happened to listen to Dance With Death on my hour-long walk to work this morning. My “Billy Harper” Pandora station randomly served up the last DWD track to me, so then I streamed the entire thing. The best thing about Hill — especially his entire first run on Blue Note — is how even after 30 years of listening to Hill, even now I can’t anticipate where individual solos are going from moment to moment (unless I can remember where they’re going). Nothing obvious, and his music (and the solos of his collabators) are almost entirely bereft of clichés. Hill is almost always like a breath of fresh air.