JSngry

It seems that so far, couw and I are the only ones who hear something really weird about #13. Nobody else hears the bass and drums (especially the bass!) as sounding as if they weren't even in the same decade, much less on the same stage, as the rest of the band?

Can't argue with that!

Claude Williamson (born in Vermont, btw, a refreshing change of pace ) was playing w/Charlie Barnett in 1947. I really think that the line runs straight from Bud into both Silver and Hawes. Horace, as noted earlier, started w/Getz in 1950, and you know that those West Coast guys were checking out Getz sides! Hawes was a "local hero", no doubt, and was no doubt heard regularly and admiringly by all concerned. I'll credit my good buddy Joe Milazzo, a big Hawes fan, with putting the idea in my head that Hawes and Silver might well have been travelling independent yet similar roads in the early 1950s. Makes sense to me.

Just received word from a reliable source that street date is now Nov. 22.

Are we looking for breaking water news?

Mentioned or not, that's almost certainly a piccolo!

Diteaux!

What I'm for is educating our people on how to reap the benefits of the system, not taking away the chance for them to do so. Donald Byrd schooled Herbie Hancock on the wisdom of owning the publishing to your own material, and Herbie's done all right by doing so. Laws, like religions, are only as fair/ethical/whatever as the people who practice them. GIGO, so to speak.

If I ever own a soda fountain, I think I'll create a irresistably delectable beverage and call it The Bill Perkins Float.

Long been tempted by this one, but have never bit, expecting a lot of West Coast foo-foo with a little bit of darkness thrown in. If it gets Larry's juices flowing this much, that's obviously my bad!

Why are they limiting their pirate releases to Miles? Or are they?

I've been an adamant supporter of copyright and IP-protection laws, but definitely not for crap like this! Perhaps there needs to be a "sliding scale" factored in that considers (generously, to be sure) cumulative earnings of a "property" as well as merely how long it has existed, as well as whether or not a usage of the product is "direct" or "indirect". Surely the sound of a cellphone ringtone in a verite documentary cannot be considered anything other than indirect usage. Perhaps "intentional" or "unintentional" are better terms. The needs/rights/etc of the owner(s) of a property such as Nessa's AEC box or some Blue Mitchell tune after 50 years are obviously not the same as those of the owners "Gonna Fly Now" after 25. At some point, both financially and chronologically, ownership rights can shift from providing legitmate protection to being used as tools of extortion. But what that point is, and when it is reached cannot be served by a "one size fits all" rule. There's an old country saying - "Pigs get fat, hogs get slaughtered." Word.

That ain't no good.

What are his requirements?

Well, ok. So why haven't you posted? Seriously, that's a helluva a lot of shit to come down all at once. Fwiw, you got my fullest sympathy as well as my strongest encouragement to stay strong no matter what.

Well, if JazzDoor has gone from grey-market to piracy, then a pox on them.

Indeed it is. That narrows the list down to one, Love Took The 7:10 Tonight. Any other info on these songs, Irving Reid, Muriel Winston, or, now that I think about it, who the "Mal" in Tadmal might have been?

Thanks!

...Strata-East Album "A Fresh Viewpont" and Muriel Winston (Strata-East SES7411) and the artists - found through an AMG search - noted in parenthesis? Never Been In Love (PerHusby-2003; Scott Robinson-2005 ) Weekend (Vanessa Rubin-1993) I'm Never Happy Anymore Love Took The 7:10 Tonight The Happy Heart (Per Husby-2003) Publisher for these songs is listed on the Winston album as Tadmal Music Publishng Co., and ASCAP is listed as the licensing group. All five are listed as collaborations w/one Irving Reid, of whom there is no mention on AMG. Anybody know anything about Mr. Reid? Also, these songs have Dameron listed first on the songwriting credits (ie - by Tadd Dameron and Irving Reid), which may or may not indicate that he was the lyricist. Anybody know if Dameron ever applied his lyrical bent to actual lyric writing? This album seems to have been the first presentation of these songs. It was co-produced by Winston & Bill Lee. Any idea how they found these tunes? For that matter, does anybody know anything about Muriel Winston? As always, thanks in advance!

Up. Is this book still available anywhere?

I would dearly love to have a copy of the Cleanhead Vinson album. ← It's live @ Montreaux w/Larry Coryell, iirc. HAd a buddy in high school what had it.

Or, it might be a repackaging of various grey-market material that's been available on various such lables over the years. To my knowledge, JazzDoor specialises in that type of material, not the pirated legit stuff that Lonehill, Proper, etc. put out.

Note that all the pianists you mention, save Costa, are Los Angelian, at least in terms of "career center". I'd guess that the sources would be equal parts Bud Powell, Horace Silver (who began recording w/Getz in 1950, I believe), Hampton Hawes, a native of the region who was probably independently going, to one degree or another, where Silver was going, and the reinforcement of popular/peer acceptance. I do think that it was a, as you call it, "widespread sound" - mainly a "West Coast" one, and one defined to no small degree by how the piano was recorded on so many West Coast dates from the 50s - stark but warm, w/little or no reverb added to the sound. That dryness accentuated the percussive aspects of the sound. I'll not claim that this is an "answer" to your query, but I too have long noticed that to which you refer, and this has been my take on it.

Few have, it seems. I doubt that it got wide release. The use of a nude (frontal) cover model might have limited distribution.

One man's steak is another man's baloney, I suppose. Fair enough.