Eric

Hi Gary, Indeed, welcome!!! You will discover there are several KC folks who are active on the board and probably fans of your brother (as am I). A question for you - how much time did he spend in KC before heading to the west coast? I have most of his in-print recordings - I really enjoy his music. I have also enjoyed reading about his non-jazz professional activities - sounds like he was a neat guy. The Ebb Tide story is great ... please share more at your convenience! Eric

Not particularly, although my listening is somewhat limited. I have read that is what Brian was going after on Pet Sounds. Maybe it is my expectation of what I want from the Beach Boys - a pure sonic delight - ear candy of the highest caliber. Or, given Brian's perception of his competition at the time - the Beatles, maybe something a little richer, yet less muddled, less "boxy". To me, Pet Sounds just sounds (relatively) lo-fi. In the context of that great Dap-Kings CD, that sound of course is perfect So maybe that is the distinction - for r&b, classic soul, gritty rock - that sound works for me. But for pure pop - which is what I see this stuff as - I want to really hear all the sonic details.

Yeah Brandon, I have mixed emotions about new versus old. You're right, with the old you get Carl and a better-sounding Brian. With the new, you should get the benefit of technology, which unless they totally f it up, should be a plus. I wonder if Brian will be able to summon the emotion that he did for Pet Sounds or if it will be more of a giddy/silly "happy to be alive" vibe. Speaking of Pet Sounds, I may be in the minority, but I think it sounds like crap. I have the latest version (with both mono and stereo), but to me it sounds pretty cloudy and distant. Maybe it is supposed to, but it is just not to my taste. Great songs though.

Agree. Not essential, but good. Don't pay $140 ...

I nominate Black Fire by Andrew Hill. Highly satisfying album and very representative of the more progressive stuff BN was doing in the sixties. I think it is coming out as a new RVG this summer.

I see he also has a new one coming out in June ... a number of guests including Elton John, Clapton and McCartney. I really, really liked Imagination, the last one he put out (~ 5 years ago). Not all of it was great, but some of it really was (Imagination, Lay Down Burden in particular). Should be interesting, as I expect Smile will be. Hopefully the "studio magic" can smooth out some of the rough edges in his voice. Normally I am opposed to that sort of stuff, but hey, I won't be buying it for the lyrics ...

Hey Chuck, Happy Birthday!!! Thanks for your insights on this board and good luck with your ongoing efforts reissuing all that great stuff you recorded!! Eric

What he said ... Got it today, have spun it 3 times so far ... Goooooooooooooood shit!!!

Shades of Blue (aka Who's Blues) is on the Mosaic - it is just from a different session (the one with Cannonball issued as "Go"). Probably just tacked on to the European version of 1st Bassman ...

Has anyone picked up the Criss? Supposed to be unreleased stuff???

Claude and others, That is what I am trying to understand ... please enlighten me ...

Please help me understand the problems associated with copy protection. I am not trying to be a smart-ass, just trying to understand from the consumer point of view. On the contrary, I prefer to be a fully-informed basher. Thanks

This is a pretty good place to start ... http://home.att.net/~lankina/jazz/

I don't mean to keep pummeling this deceased equine, but why is/should this be different from the drug company's drug patent term? Is it just because the drug company "made a killing" (profited greatly) from their product while most jazz doesn't sell that well? Or is creative product different from commercial product? For the record, I think this Jazz Factory release sucks, but I'm more than a bit perplexed by the inconsistent views expressed here and elsewhere. If it's okay for a patent to expire, why not a copyright? Or, conversely, if we desire an unlimited term on one, why not the other? Some of the thinking on the 50 year expiration has been along the lines of "50 years is enough time for a record company/artist to profit off the music". My point was that for jazz titles that are steady sellers, there are still profits to be had and why should they go to the Jazz Factory's of the world versus the artist and their record company. Shorter expirations exist for patents simply because the product in all likelihood becomes obsolete in a much, much shorter period of time But even in that short period of time, the "artist/company" will undoubtedly recover/earn the vast majority of available profit. Not necessarily so with recorded music. Maybe not the greatest analogy, but I think 50 years is way too short for recorded music ... as is 70 years for that matter. Frankly, I see no reason why recorded music should ever enter the public domain ...

Any chance that Cuscuna's DNA may reside on the outgoing postage stamps???

I will second that, as a complete newbie. Great jazz record!

Nope. I am not an attorney, but my understanding is that once the 50 year copyright expires, anyone can "legally" dub their favorite copy of HS Trio and sell it in Europe. All the better if it has been recently "RVG"'d ... I don't like it because it takes sales away from the legit companies who use the profits from re-issues to fund new releases and more re-issues. It's not like we are talking about some drug from which the manufactuer made a killing during the original patent term. Especially with RVG-treatment, some of this stuff probably has the potential to sell as well today as ever.

Lon sounds cool - which shot is it?

I just hate seeing this stuff ... I know it has been debated to death elsewhere ... But my gut tells me it is very bad law ...

Bev, What's the good word on this one?

Just picked up the Rarum compilation ... like what I am hearing. No, it 'aint Blakey, but it is pretty cool

Big Donald Brown fan here. I would agree that his Muse records run from merely "nice" (and I would agree that "People Music" falls into that group) to excellent. Post-Muse, he put out 5-6 records on a French label, Space Time. AMG lists some of them ... I prefer the group records (Enchante, Wurd on the Street) to his solo/trio stuff. On balance, these are probably stronger than the Muse sides. Plus, you get to hear Manny Boyd, who I always enjoyed on those 70s Bobby Hutcherson Blue Note records. On the Muse side, Car Tunes is also a keeper. I really like his writing - hits a vibe with me. He does seem like a spiritual guy and it comes through on his records. Definitely TDWR ...

Damn.... That sounds brilliant. Pulled it out ... also think prime Television in a raw blues/funk context that just shouts out "I dare you not to dance to me, mofo"

Hearing the clips reminded me of a Memphis band called the Fieldstone's. I have one of their songs ("The Fieldstones" on a sampler). I have no idea if the whole album is good, but this track is a real ass-shaker, not unlike say "Think" by Lonnie Smith ... in the groove/ass-shaking sense versus the actual tune sense. Anyway, there this way-tight "Crosseyed and Painless meets Magic Sam" sort of locked-in groove ... Also on the Dap-Kings label ... more of an instrumental thang ... DG(TB) of course gushes over it but the clips sound VERY funky, albeit in a bowling alley sort of way ...

I expect a full report ... BTW, just picked up my copy ...