Eric

Ha - I see it completely the opposite - I am going to have to re-listen - has been a while on both.

Only Hill really really did nothing for me was Les Trinitaires, a solo album from the 90s.

Might be easier to cite the Hill to avoid - for me, nothing has really grabbed me since Shades, but YMMV. Summit Conference is excellent.

Good call.

I enjoy Andrew!!! and Dance with Death. I also think the Mosaic Select (he has two - the one with the bands) is full of wonderful music.

This is pretty much my thinking, too. If Mosaic needs to expand its horizons in order to keep releasing the good stuff, it's OK with me. I'm not sure I understand what people are concerned about "tarnishing the brand" unless it somehow impacts their ability to continue the boxes. I think the concern might be that it reduces the price/collectibility of the full-size boxes in the secondary (ebay) market. Kind of like putting a Sears 8-track in a new BMW.

SUPER BLUE is already up for pre-order on Amazon. There are no extra tracks added in that Amazon listing. Noticed that - hopefully a typo. I thought David Weiss reported listening to the tracks tracks when he was traveling with Freddie. EDIT - CD Universe shows the three extra tracks.

I agree with most of the skeptcism/criticism expressed above, HOWEVER, we will get Super Blue, presumably with the extra tracks that have been discussed elsewhere on this board. Can High Energy be far behind (which was remastered by Columbia at the same time)?

A lot of the so-called "blowing sessions" from the mid-late 50s on Prestige (which seem to be categorically dismissed).

I was looking at my lps that correspond to this set and noticed that they are not including "Head On". It IS from 1971, so it misses the cut-off by several years. IIRC, it has the same vibe as the 74-77 stuff, but it really is more representative of the Hutch/Land group. I did notice Hutch is wearing the same orange cap on both "Head On" and "Cirrus" - photos must have come from the same session.

After Gold, you can direct your friend to this excellent recap of the Impulse years. It is from 1992, probably out of print, but I would guess can be easily found. Three full CDs. I bought this new in 1992 and was pretty much an Atlantic/Prestige/Love Supreme-only Trane fan at the time. This was a wonderful awakening for me and I still pull it out from time to time. Does not hit Japan, Seatle or Ascention, but does have several late-period nuggets, including Offering http://www.vervemusicgroup.com/product.asp...st&pid=9449

My selection as well. But ANY of these would be a satisfying listen.

same as now

Not to steal the thread, but what do you suggest?

Wow - I have been out of the political forum for several years - I did know what I was missing

Ditto. Lotsa gems in there!

Not to be a discographical dork, but how could that be since MS was not issued until 1980 or so? Did Miles go to see him live?

Shareholders have to approve the general terms of a stock option plan. It seems that "backdating" would be the kind of term that needs approval, i.e. it is a pretty significant feature of the plan. So, in addition to not disclosing and not accounting, they were overstepping the terms of a plan previously approved by the shareholders. Bad stuff all around.

This is the interesting point. Backdating is not illegal per se. But failure to disclose (and account) is and that is what all these companies are getting nailed on. Yup. I don't think there's anything inherently wrong in backdating -- all you're doing is forking over more dough to the options recipient(s). Whether that's right or wrong is for the shareholders to decide. But lying to the shareholders... Guy Exactly. The extent to which this was going on is rather stunning.

This is the interesting point. Backdating is not illegal per se. In theory, a Board of Directors could choose this as a legitimate compensation tool. But failure to disclose (and account) for backdated options is a no-no and that is what all these companies are getting nailed with. Did they learn nothing from Nixon?

I am sure the still-living Mr. Bailey would love that. While it's unfortunate that Mr. Bailey won't likely see a dime, he wouldn't see any money if the recordings weren't issued at all either. I'd like to think that if there was any significant profit to be made by releasing these more "officially" that someone would have done so by now. So given that he wouldn't see any dough either way, I'd be more interested in hearing if he'd prefer his legacy to remain unissued or at least reissued in this "grey" manner so that more people can be exposed to his past musical accomplishments. This probably is not about Dave Bailey, unless he is still getting royalties. In a legitimate business environment, Lonehill would LICENSE the rights to the recordings from Epic (presumably Sony) - just like Koch did when they issued the Dave Bailey stuff a few years ago. Licensing involves a NEGOTIATION and PAYMENT to the rightful owner. In this case, the Lonehill people found some of the Koch CDs, burned copies and came up with their own "artwork" and "liner notes". How anyone can defend this is beyond me. Sony is the legal owner to this music. Anyone who uses it without their authority is breaking the law. Please read carefully what i wrote - you're completely missing my point... In all likelihood, the interests of Dave Bailey were (unfortunately) signed away years ago. The only one that can do anything about Dave Bailey is the legal owner of the recordings. And they DID a few years ago by licensing this stuff to Koch. Lonehill does not get to play Robin Hood (and make a profit at the same time). Anyway, this discussion is probably in the wrong Lonehill thread, so enough from me.

I am sure the still-living Mr. Bailey would love that. While it's unfortunate that Mr. Bailey won't likely see a dime, he wouldn't see any money if the recordings weren't issued at all either. I'd like to think that if there was any significant profit to be made by releasing these more "officially" that someone would have done so by now. So given that he wouldn't see any dough either way, I'd be more interested in hearing if he'd prefer his legacy to remain unissued or at least reissued in this "grey" manner so that more people can be exposed to his past musical accomplishments. This probably is not about Dave Bailey, unless he is still getting royalties. In a legitimate business environment, Lonehill would LICENSE the rights to the recordings from Epic (presumably Sony) - just like Koch did when they issued the Dave Bailey stuff a few years ago. Licensing involves a NEGOTIATION and PAYMENT to the rightful owner. In this case, the Lonehill people found some of the Koch CDs, burned copies and came up with their own "artwork" and "liner notes". How anyone can defend this is beyond me. Sony is the legal owner to this music. Anyone who uses it without their authority is breaking the law.

Well you are not guaratnteed a profit, mortgage or not. Just about every business owner has the opportunity to draw the line at whoredom. Sell some Beyonce CDs if you need to feed junior.

Although Concord just spent ~ $80 million big ones to acquire Fantasy, which strongly suggests they would have the resources and probably the will/clout to fight this. This one is a travesty. How rapid the descent from labor of love to outright theft ... http://www.amazon.com/gp/product/B0009SQ4P...7381423-0515060

Ooops, time to bone Concord/Fantasy. Gee, too bad they shot their wad too soon or they could have gotten the RVG version of 4, 5 & 6. Text courtesy of the Bastards: Complete Recordings (4, 5 & 6/Long Drink Of The Blues/Makin' the Changes) Jackie McLean/Mal Waldron Quartet CD (Item 441390) Prestige/Lonehill (Spain), 1956/1957/1960 -- Condition: New Copy One of the greatest pairings in jazz of the late 50s -- the alto sax of Jackie McLean and piano of Mal Waldron, heard here in a collection of amazing sides from classic albums on Prestige! Waldron's dark tones on the keys were a great complement to McLean's growing sense of modernism on the alto -- and together, the players forged some incredible sounds under the auspices of otherwise loosely-assembled dates for Prestige. The 2CD set features a whopping amount of material -- 20 tracks in all, pulled from the albums 4 5 & 6, Long Drink Of The Blues, Makin' the Changes -- plus additional material from Strange Blues, Outburst, and Left Alone! Other players here include Doug Watkins on bass, Art Taylor on drums, Donald Byrd on trumpet, Hank Mobley on tenor, and Bill Hardman on trumpet -- and titles include "Why Was I Born", "Embraceable You", "These Foolish Things", "Old Folks", "What's New", "Bean & The Boys", "Strange Blues", "Outburst", "Left Alone", "Confirmation", "Contour", "Beau Jack", and "Love Is Here To Stay".