JSngry

I saw all of those, but other than the Farnon...a person would have to have pretty specialized tastes to go for those. The Mancini Latin things, yeah ok, those too, maybe. Past that, you're getting into the specialized area of people who spent high school on the Easy Listening stations rather than the album rock stations, and that's maybe me, you, and who else?

What records did you play today, Hans? People want to know!

Blackwood Brothers, 1952

I'm looking forward to having everything on CD. Keep those LPs from any further damage until Japan calls (yes, the kids have instructions).

Yeah, it was recorded in a foreign country. That's why it's called "The Flip". because Rudy had to flip the sound back so the water flushed in the right direction like it does in America. That, and the commies tried to flip Philly Joe, but they got more than they bargained for with that one!

This is a kind of "thing" that if you don't do it really well, it just sounds stupid. Holman being one of the people ho invented this "thing", he most assuredly does not sound stupid. Other people, though...hey, don't ask me to not enjoy bill Holman because of what they do. That's just not right.

I'd advise pursuing separate versions. The Anhokoran issue is Tentet only, and the small group stuff not included/left off is very good.

Soulpope and I both like it. It's a mix of large ensemble and small group. The larger group things are slightly "Third Stream"-y in a not sludge-y manner, and the small group stuff is plenty sweet, and oh yeah, Mingus on bass. Also, you get Hal Stein soloing in the larger band, which is a rare treat.

Exquisite.

I don't understand what this means? "issued right on the changeover"? Ok, did you mean "right AT the changeover"? That makes sense, then.

Candido was on Solid State (which was by then owned by US), period. No "Series". that was a totally different thing. Look:

Can't see the video at work here, but is the objective to make a listening room sound like a studio (per Kevin's "dead")? Not sure if that would be desirable or not, Rudy's was great, as were so many of the old ones, but as time went on and the goal became deadness and maximum separation rather than blend (so the record could be made from the music instead of a record being made of the music)...not sure I'd want to listen in my house to something like that. Playing in them was not usually fun, I can tell you that. The only way you could get a feel of liveness was through the headphones, and....no, thanks. Ear condoms. But maybe that's not what they're going for?

My chronology with Melle was hearing him on Night Gallery first, then Andromeda Strain, then on Tome VI, and then, finally finding out that he "used to be" a "jazz guy". So it's been an adjustment of sorts for me to hear these jazz records of his in their actual chronological context. I like Tome VI, not so much for the music as for the notion of "Jazz Electronauts" being something that didn't involve gimmicky clothes on the cover and stuff like that. It was an honest look at applying electronics to the music and then the music proceeding from that. It wasn't just the same thing only with goofy plugins.

I'm thinking the message here is that if you want this material on CD, get it now, here, because things are changing and they're not coming back. How big an edition is 2500, anyway? Relative to other sets.

Here's another one:

Pretty sure it's more complicated than just that...once UA absorbed BN/SS/Liberty/Everybody elseA, there were all sorts of downstream catalogue permutations...the Allen Douglas sides that were originally done for UA itself were reissued on Solid State (and with no "Series" appellation appended). The dually named albums on that site of this nature all appear to be from non-US issuance. Here, they were straight-up Solid State. Totally separately, Thad-Mel, who were always signed to Solid State itself, found themselves on Blue Note for an album, but for whatever reason the "Solid State Series" got appended to it, maybe something contractual. Meanwhile in UA land, if you can see it: Here's a band that had been recording with good success for Pacific Jazz as part of Liberty, now they're on Liberty as part of the "Pacific Jazz Series". So, you know things were getting all moved around and shit. I think it's safe to regard it as a mess.

Repeated listens only deepen the mystery...if that's Dolphy playing on the head, it was overdubbed after the take, which they would have done on both takes (because it's played slightly differently each time), which would be an odd decision? But if there was no overdubbing at all, somebody else was playing on the head, if only for that one little bit. Is it possible that Lasha would have been standing around just to play that one little bit? How do things like this escape the attention of producers & annotators? This is truly strange.

Although most of this material was issued on CD at one time or another in the '80s or '90s, all of this music is out of print. This gives me pause...not for myself, but just thinking that those original CDs are 20+ years old. This new set might be the last/best chance to get them for going forth. As the response here shows, us old guys already have them. So the market should be for the not so old guys. But will they be interested? Let's hope so. Dippin' should be allowed to live forever.

I've got some of the music on CDs, most of it on LPs, but none of it all together. They'll get me for this one, but really, it's kind of a lazy man's set, sorta. But it makes sense if the CDs are going to go (or have gone) OOP.