Eric

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".

$100, First Class mail included to US. CDs, box, booklet are NM-. PayPal please. Edit: *** GONE ***

Stuff on small labels, probably never to be re-issued - that is kind of OK in my book. I will buy it from these guys, but if it ever comes out legit, I will buy it again. However, it seems they are way over the line, now disregarding even the European copyright laws. The Harold Land/Carmell Jones lp on Atlantic. Even they say it is from 1962. Plus Koch just re-did that a few years ago. Their rip-offs of Mosaic and now even the Selects is just disgusting.

Congrats - I could not make it, but will look for these in the future. It sounded like an interesting group. Too bad about the weather, but I think it is great that you took this from concept to reality!!!

Tom, I am going to try and make it, but regardless, congratulations!!! Very cool!!! Eric

I like the Hicks, Jones and Cowell.

Sorry, it is the Curtis Fuller Mosaic!

I tend to agree and I live here. Based upon the most recent minor league team we had, there appear to be ~ 5,000 "core" hockey fans in town. There is really no "buzz" about hockey here -- it would take an incredibly sustained marketing effort to make it work. Even then, there is big competition with college basketball in this area. BUT, Raleigh has the exact same predicament and they seem to pack them in (having a great team helps). Plus there are a lot of Yankees in Raleigh that grew up with the sport in the Northeast. Should be interesting to see what happens.

Yes, this one should be interesting. How infrequent is it that NONE of this material has been out on CD? I've got all the lps except for the one issued in Japan only. Some of the material is quite good - up there with his late 60s stuff. There really isn't any bad material, although some of the weaker stuff is too tame for my taste. I am especially looking forward to the sonic improvement - BN lps of this era seemed to sound lousy ...

WOW!!!!!!!!

My first Mosaic and my first box!

They are my amazon seller of choice, particularly for OJCs. They give shipping confirms and ship very quickly.

Same goes for the Montgomerys.

Yeah, but it's still fun as hell, especially when you've got youngins.

I listen to music every day, although often I am doing something else. I tend to listen to rock in the am (getting ready for work, driving in) and jazz in the evening (cooking dinner, reading before bed, etc.). As for which artist, I tend to go in "subgenre spurts". I may be into the organ thing for 2-3 months, then I move on to more avant garde stuff and then maybe some 70s fusion-y stuff. I have wondered if there is any linkage between subgenre and my overall mood, stress level, etc. So far, no discernable connections! I will sometimes "go exclusive" to either rock of jazz, but usually I am listening to both over the course of a few days. I really do apreciate the size and diversity of my jazz colection - there is always something perfect to listen to. This board definitely is a stimulant for particular artists. Case in point - recently there were some lukewarm comments about Freddie Hubbard's Blue Note records. I happen to love most of this work, but haven't listened to it hard core in maybe 15 years. So I have been pulling them out over the past few weeks and it has been a blast to reconnect with these old "friends"

There are five Frank Wolff photos on the Mosaic site: http://www.mosaicrecords.com/photosearch.asp

Not sure if this is hard bop, but I liked just about everything from the Akiyoshi/Tabackin big band. Insight is a personal favorite. Clifford Jordan has a pretty cool date on Mapleshade. Much better than the one on Milestone. I also like the Joe Henderson record on Verve.