JSngry

My point is just that there's a lot of traffic in that music that doesn't involve official industry channels. Again, my experience is limited, but there seem to be plenty of ways to get the media (and not just music) from, shall we say, "unauthorized third party sources". It's pop music, it's coming from a different continent, and it's digital. Use your imagination as to the possibilities!

Assuming that Don Robey would have manifested as he did...the implications of the practical and moral failings of Reconstruction created this America at pretty much every level, every aspect. What would have otherwise happened....who knows? One hope that we would still have gotten Prismatic Fidelity!

I personally think the overall apex of that thing was the Alfie album, but "Three Little Words" is supra-genius.

In my admittedly limited experience with current "Asian" pop musics being consumed in America, I got one word - digital. And all the implications that come with that. "Sales" may be an only occasionally relevant statistic. https://en.wikipedia.org/wiki/Billie_Eilish

Could be! But seriously, there are plenty of, for lack of a better term, "proto-riffs" in these Schumann quartets, and the NMSQ seems to call that quality out in them, which is what I meant about first impressions that the band and the music were perhaps at odds. But hell, maybe that's just how I'm hearing it. Or maybe that's how they're playing it and that's how I'm hearing it and what I am hearing does not mean what they're meaning by playing it that way. I shouldn't think that they should be thinking that way, not in that world at that time, and definitely not when Schumann composed it. OTOH, I'm getting the distinct impression working through this set that this was not at all a timid or "refined" band, they sure seem to be all in all the time. I've not get gotten to their Mozart, but have heard bits and pieces of it on Pandora, and it sounds like if anybody or anything is going to get Mozart to really speak to me in anything other than a historical dialect, it's gonna be these guys. So maybe hearing "riffs" in Schumann is one of those unintended yet inescapable things that happens when you listen to music out of order.

Extra material is nice, an orgy of formats holds no interest for me. I heard the damn thing new on about 50 bajillion record players over the next 5-10 years, enough already.

Both! Especially the thinking you've found enlightenment part, look out for that one.

Or if African-American musicians in general had been incentivized, empowered, and rewarded for staying in the American South. Please remember - VeeJay, like Chess, thrived in the wake of The Great Migration, which itself was an inevitable result of the failure of Reconstruction to follow through on its alleged ideals.

I am. They are just passages, but they are definitely in there, and for somebody who was immersed in that kind pop music long before even taking a dip into jazz or classical music, they are obvious.

"White folks" still love them some minstrel show shenanigans, and they still love being able to look down at the rest of life and decry the spectacle, name the victims, and point to the perpetrators, totally without irony. It extends past black music into every live and aspect of life that is not their own. The myth of "equality" is that sharing of power, to the point that it may in part or in whole be yielded, will be totally embraced. Yeah, sure. Follow the monies, follow the ownerships. I would say that Miles was quite the role model, actually, at least in terms of not buying into the premise that others should be able to own his music, alive or dead. People might not like how the legacy is being handled now, but please note that it is being handled by family, and the money along with it. The ability to accrue and then pass on wealth (ok, "wealth") to increase individual and collective financial (and thus, social) leverage is no small matter. Just as there are "alternative history" novels, let's imagine an alternative musical history where Reconstruction actually works, and Freedmen actually are able to pursue entrepreneurial endeavors protected and unmolested. Then let's say that Black Capital builds the Black Music Industry from the ground up. Let's ponder what kind of Black Music gets promoted, what kind of behavior becomes normalized/imprinted on the collective consciousness, let's think about where we might be now if that happened. But no, that didn't happen. And here is where we are. Toni Morrison, 1975, making the net-rounds a lot lately, and with good reason: “The very serious function of racism … is distraction. It keeps you from doing your work. It keeps you explaining, over and over again, your reason for being. Somebody says you have no language and so you spend 20 years proving that you do. Somebody says your head isn’t shaped properly so you have scientists working on the fact that it is. Somebody says that you have no art so you dredge that up. Somebody says that you have no kingdoms and so you dredge that up. None of that is necessary.” Also implicit in this dynamic is that the distractor continues to maintain power of direction over the distracted. Racism is not the only distraction, of course, and there are some distractions that are incumbent upon the individual to own the avoidance of. But yes, rewarding/enabling bad behavior and/or dysfunction, not to understand it and salve/heal it, but to profit from it, this type of distraction is institutional and it is bigger than any one individual on either side. But there it is. There it is.

First time through left me feeling that the band was a bit at odds with the music in terms of purpose, but I'm going to play some more to see if it's just me, and not them. Either way, it's a bit jarring to hear all these passages of repeated harmonic movements that sound like mid-60s "advanced" pop songs just waiting to happen

You mean when it gets hot outside?

Not "original" original, but a few things of obscure and/or vague origin. a.o. Fred Winley and O'Be Productions seemed to have a connect with Trip. Also, I have an LP of that Trumpet Summit thing from club Ruby that fresh sounds did a CD of, it's on Trip as well. That one appears to be direct from Fred Norsworthy himself.

I take that back, there is still a place for Trip in today's collections (Randy Weston, Trumpet Spectacular, etc), just not for the Emarcy/Phillips stuff...and even then, there's a few things where they offer a budget-friendly option. But overall...

If - If -you found an OG Emarcy pressing in those days, it tended to be either plowed or was priced out the ass. That was my experience anyway. They were useful in their time, but today, with so many other options, no. There's no need for them now, except as temporary solutions, and even then....

I know, right?!?!?! The whole Trip Jazz thing began(?) issuing what was then Phonogram back-catalog, which is where the Emarcy/Mercury/Phillips stuff came from. For whatever reason, they didn't do Verve, possibly because Verve was already having its own reissue party. Pressings were not the best, but oh well. The Max catalog in particular, good freaking luck getting all of that on LP in those days, any of it. Same with most of that stuff, Phonogram/Polygram/Whoever, they were content to Let Trip Do It. But Trip was a part of Springboard, and Springboard was Shady Grady like a big dog. so after a while, Trip started trippin'.

Trip was a, uh....trip. But early on I'm pretty sure they worked legit: Now, how would you distinguish a somewhat/extremely crappy pressing from a needle drop? Oddly enough, you might have to use an 8 Track to decide!

What happened to Prestige?

Hard to find anything on Wendell Tracy, just this: https://treasurechess.wordpress.com/2013/08/28/wendell-tracy/ Sounds like it might have been his project/gig? the flip side:

Just saying, I grew up in a small town, and there was a household or two that fancied themselves "sophisticated", and that was where I heard the Bernstein stuff and others of it's ilk (mid-Century American orchestras, known repertoire, certain Classical "hits" of the day). There were no record stores around really pimping on the classical, these folks had record club memberships. And they really weren't "deep" listeners, they went for what was there that they knew. You go to the Goodwill stores now, looking for classical records, you'll see what I mean. My folks had the RCA record club, and they were neither "sophisticated" nor had aspirations to be. That's why I got all these Frankie Carle records now. Great way to get exposed to tunes (at least that there are these tunes), but other than that...

For too long, Trip was the only way to get the Max Roach Emarcy stuff, including those with Clifford. Pressings be damned, here it was, again, at last!

My first La Mer was the Munch on RCA, which maybe, for some of us, raises the question of "what impact did your parents and neighbors membership in a record club have in the music you were exposed to growing up?" Bernstein, Ormandy, Munch (and Reiner), Columbia & RCA, record club powerhouses...made it easy for "small town" people to get "sophisticated" music without having to leave home.

The 53-36 run alone would be a killer set: ML 4490 Charles Ives, William Masselos - Piano Sonata No. 1 ML 4491 Virgil Thomson, Lou Harrison - Modern American Music Series: Stabat Mater / Capital, Capitals / Suite For 'Cello And Harp / Suite No. 2 For String Quartet ML-4492 Aaron Copland, Ellis Kohs - Modern American Music Series ML 4493 William Schuman - The Juilliard String Quartet* / Ingolf Dahl - String Quartet No. 4 / Concerto A Tre ML 4494 Douglas Moore, David Oppenheim with The New Music String Quartet* / Wallingford Riegger - Quintet For Clarinet And Strings / String Quartet No. 2, Op. 432 ML 4495 Walter Piston / John Cage - Sonatina For Violin And Piano / String Quartet In Four Parts ML 4841 Henry Cowell / Harold Shapero - Sonata No. 1 For Violin And Piano / Sonata For Piano Four Hands ‎ ML 4842 Roy Harris, Robert Palmer - Harris: Sonata (Violin, Piano) • Palmer: Quartet (Piano, Strings) ML 4845 Paul Bowles / Norman Dello Joio - Music For A Farce / Scenes D' Anabase / Variations And Capriccio ML 4846 Arthur Berger (2), Edward Burlingame Hill, The Fairfield Wind Ensemble, New York Woodwind Quintet, Bernard Greenhouse, Anthony Makas - Berger: Woodwind Quartet (1941); Duo / E.B. Hill: Sextet For Woodwinds, Piano ML 4987 Virgil Thomson / William Schuman, Juilliard String Quartet, Beveridge Webster - Quartet No. 2 / Voyage ML 4989 Vincent Persichetti / Paul Creston - Concerto For Piano / Sonata For Saxophone And Piano ML 5104 Elliott Carter - The Walden Quartet Of The University Of Illinois - String Quartet ‎ ML 5105 Roger Sessions / Colin McPhee - Second String Quartet / Concerto For Piano With Wind Octette Accompaniment ML 5106 Aaron Copland / Hugo Weisgall - Martha Lipton / Adelaide Bishop, Alfredo Antonini, Columbia Chamber Orchestra - Twelve Poems Of Emily Dickinson / The Stronger ‎ ML 5179 Stefan Wolpe / Alan Hovhaness- Ten Songs From The Hebrew / Upon Enchanted Ground / Suite For Violin, Piano, And Percussion ML 5476 Lukas Foss / William Bergsma - String Quartet No. 1 / Third Quartet ML 5598 Lester Trimble / Theodore Chanler - Four Fragments From The Caunterbury Tales / Nine Epitaphs3 ML 5821 Kenneth Gaburo, Romeo Cascarino, Alvin Etler, Goddard Lieberson - Works By Cascarino, Etler, Gaburo, Lieberson ‎

My "first version" of a lot of things, due to time/place was Leonard Bernstein/NY Phil. It was only later, much later, that I began to hear other conductors and other orchestras that I realized that Bernstein had a bit of a taste for, uh...."flair" that I preferred in its absence. So, to the OQ of the OP, no.