JSngry

Did you conversate with him at all, I think is what he's askitating of you.

Wait until they do Why Am I Treated So Bad! and then carpe diem, especially if they add the bonus cuts.

I also see they're offering some LT Series records...ORIGINAL COVERS!!!!! LOL!!!!

That Cannonball is GREAT. an unsung gem, to use the cliche. The Chico, I like pretty well. But it won't be for everybody...nor should it be, as there's electricity involved! Here, see if you are instantly repelled. If not... https://www.youtube.com/watch?v=Tg2Xb1nbe1I https://www.youtube.com/watch?v=VN9i1RSERWU https://www.youtube.com/watch?v=p1OVaSYYwYI

This was your wife?

And now WE can be there too! Space Age Technology, y'all!

Seattle's not a small town. Not even then! Oh, so we get that elusive but inevitable Sun Ship/Pet Sounds mindmeld, great!

You would need to know the history of Blue Note in the 70s, which you can do on your own time. But if/when you do, you can focus specifically on how Blue Note reissued it's catalog (which actually began in the very late 1960s). At first, there were new covers, some great, some horrible, but...in the wake of the success of the Prestige 24000 series and it's Milestone/etc offshoots, everybody got into the "two-fer" game. blue Note's first entry here was The Blue Note Reissue Series, which was really a mess in terms of "concept" (but already, vault material was getting leaked, Duke Pearson got one of his Stanley Turrentine sessions included). There was one set of that, and then they kept the name, but changed everything else. This is the "paper bag" series that included a lot of stuff that was not Blue Not but was now owned by US, but also, this was when vault material really became a big thing. Cuscuna started bringing out 2-fer LPs that consisted solely of of unreleased session, or, like with Booker Ervin. This is when a LOT of the stuff we take for granted today first saw the light of day, a lot of it. While they were doing that, the "modern" Blue Note was off someplace else entirely, and doing pretty well, actutally. So there was room on the books to do this "specialty" archive stuff. But then the money stopped, artists got better deals from bigger lables, blahblahblah. The George Butler stuff just sorta went away. It got down to where the only contract artists the label had were Bobby hutcherson & Horace Silver. Not sure about the crossover stuff, but...it seemed like that all kinda dried up too. People who were already buying records surely noticed that the last run of twofers had lost the textured paper bag paper and went to a cheaper slick paper with a different set of colors. and a different name - it waws now the Blue Note Jazz Classic SeriesThey had one set of those, and then...nothing. UH-oh. Until the LT (aka the Bluer Note Classic series, which very much were cheap from a production standpoint. But at the time, seeing what was happening with Blue Note as a whole (and United artists Records in general, not sure what the corporate thing was, but there was being being lost, or reported as being lost on a pretty big scale). They veritable reeked of "get them out RIGHT NOW because there might not be a tomorrow). And soon enough, there wasn't. Etc. They weren't all vault releases, a few were actual reissues, but - ook at all they got out of the vault and into the reality of release between 1979-1981. Staggering, really. Remember, before any of this started happening, "Blue Note" was either a catalog label (and find an early 70s inner sleeve to see just how truly limited it had become) or a Hits A New Note-conglomeration of various productions. If none of these "reissue" series had happened, so much of those vault stuff would be, at best, words on a discography page, or, possibly even more likely,, increasingly mythical conversations that musicians would talk about and the public would just roll their eyes about it, because, you know, old shit, if it was any good, why did it not get released to begin with. The reality of the business end of Blue Note provides an easy answer to that - it went from being a small independent business to a corporate holding that became (and continues to become) and increasingly insignificant piece (hell, crumb) of that particular pie. If anybody wants to do the work (and it will be work), check these two links out: and look at what all got done in the space of about 7 years: https://www.discogs.com/label/287655-The-Blue-Note-Re-Issue-Series?sort=artist&sort_order=asc https://www.discogs.com/label/66004-Blue-Note-CLASSIC?sort=title&sort_order=asc You can have narrative, or you can have history. Make mine history, please.

What did Ra say about today being the shadow of tomorrow? Even if it was Joe Tommie Tim Tomm on that screen, still possibly the GOAT. A moment of the then-present that was totally prescient.

Love? Actually...querying Ken, as that would be an...atypical selection for him, based on what I know of his tastes.

?

Not everybody loves Jimmy Garrison. No accounting for that, but...oh well.

All things considered at this time to date, that may end up being the greatest Blue Note cover ever. Take about "period appropriate" ..

Any time that Don Schlitten engaged with Moody, results were excellent. I guess he drunked up the date with Dexter, but that record still works for me..drunk Moody played more sideways than usual, but oh well about that.

Feelin' It Together is gotta be in there too! Moody never made a bad record, although if you're "collecting", I might save those later RCA records for the end.

Yep.

Unless Ravi has a better source tape...but I really hope that this is something else...it almost has to be, right?

I knew that Memphis had a port on the Mississippi, like, a looooong time, but it never dawned on me to consider that it was an honest to god international port, with border and customs agents and shit! https://www.cnn.com/2021/08/14/us/memphis-fake-vaccination-cards-us-border-patrol/index.html

It was a 70s album.

It's Tiki night, you've documented at least three rounds, with you and the ms. and all you can do at this hour is post this type of stupid shit? For real man, any thread where the premise is Blue Note Albums with CTI-Like Cover Art... and then claims an "esthetic" interest...I know you're in Florida, but this type of Tuckery truthy bullshit is not esthetic, except in the trashiest kind of Floridian way, and even then... BUT I'M JUST ASKING QUESTIONS... Liberty is not a factor here. Liberty was totally gone by the time the LT records came out. EMI & Universal had yet to enter the picture. The only corporate entity in play at the time was UA. You know, if you're going to bitch about this shit, know what the fuck it is you're talking about. Uninformed bitching is the most irritating kind, especially when it hides behind "esthetics".

There ya' go!

Don't know about either of those points, but it's a curiosity for me. not sure why it was such an early posthumous release...well, I am...going for the hippie market. hippies gullible then, Boomers gullible now, a lot of the same people. Bob Theile married Theresa Brewer, not Angela Davis, dig. Not that he should have, hell, not that he COULD have, LOL. But faddism is the enemy of discernemnt, although acid is not necessarily the enemy of good playing. I'm very much a fan of ...Vanguard Again, especially "Naima". Especially Pharoah...his most "vocal" playing ever, perhaps, at least from this early period. And the full Live In Japan...don't know that I'd say that I'm a "fan" of it per se, but I do find it very...compelling, just not all once, becuase it wasn't played all at once.

McCoy was innately conservative, was until the day he died.. Elvin's breaking point was being asked to play with Rashied. Can't blame him for that, he was Elvin Jones! Pharoah was doing what he was hired to do - pick up the "higher partials" when Trane gave out, much as Trane had done with Miles a decade earlier.. Pharoah could do that, Trane couldn't. It's very much a saxophone technique thing, overtones, different fingerings, all that. Nothing random at all about it, it's VERY controlled, totally about knowing the isntrument. Like McCoy, Trane's technique was by that point too "traditional" to start over. But he heard what Ayler was doing and knew that it had to happen, just had to. Thus, Pharaoh. Unlike McCoy, Trane very much had a need for that. Pharaoh could play his instrument quite well then, and he got better. I think the time with Trane actually hampered his development, because his role was so NOT about doing the harmonic development thing, and if the ESP record is any indication, he was still very much developing in that area of his playing.His records REALLY started sucking after a while, apparently he had some pretty serious depression issues, but he came back out of it. He's a monster player. Here's something from later, when McCoy started processing his hair and waering "snazzy" suits and shit. None of that for Pharoah!

It's a pretty MOR record. It's not for serious listening, it's...not for listening. It's got good songs, I'll give it that, and then...let it go. Montara is the one that's always left me cold. I get what I'm supposed to get about it, but I don't. It seems like Natural Illusions but with a "groove". I keep waiting for it to surprise me, but it never does...at this point, not going to try anymore. San Francisco, that's another one, but not as badly. That one, at times, if I don't listen TOO hard, it's ok enough.

You know the OG Exodus gatefold LP cover of that one, right? One of the true natural wonders of it's time!