Eric

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 ...

Good take. I really enjoy Turner, but have had a hard time "getting" this one. Thanks for giving this perspective.

Morgan/Shorter, by a long shot. The alt takes on the Kelly tend to dilute my listening experience. Better to buy those sessions on individual CDs without all the extra takes.

I have Trinitaires on CD. I can't remember right now where I got it, probably an import through Amazon. I like it, though not as much as his classic BN sessions or Beautiful Day for that matter. I had this and traded it in that old jazz CD trading group (damn, what was the name of it - probably dormant since 1999 or 2000 - oh yes, Jazz Trading Post). Anyway ... this was not my cup of tea. I enjoy most of his solo stuff but this really seemed dense and plodding. As I recall, my issue was more with the plodding than the dense. Seems the piano was not all that well recorded either. "From CA ..." is a nice one.

Cool - thanks Marcus - will hit the local used record shop on Thursday ... something tells me that (sadly) I should be able to find these pretty easily ... Eric

Way to go Rooster ... and Michael ... and Andrew!!!!!!!!!!!!!

do tell me where to start ... I sort of lost him after (gulp) Sign O' The Times (although I bought, but have not digested, Emancipation).