Niko

just a bunch of pictures...

even more belated: happy birthday!

consistent with the info paul linked to (ie if he was CHarles Freeman Lee born on 13 AUgust 1927) we have LEE, CHARLES F 13 Aug 1927 16 Jun 1997 according to his social security death index entry (last address in ohio again) in fact, creepy as it is that information is so widely available: http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=42544650

Larry was quoting Laurie Pepper (jazzwax comments)... those claims about not being involved with Lonehill etc are somewhat thin anyway because Pujol is one of their main distributors it seems...

neither do i have any exclusive recordings of any value nor do i have any sort of agenda in the music business whatsoever... but once more - whenever you see an orginal cover or cover photograph on a fresh sound cd (as in the case of the recent lenny mcbrowne reissue for instance) you can be almost certain that the overall product is NOT in compliance with spanish copyright law. why we are talking about freshsound and not about proper i don't really know (in fact i have a handfull of fresh sound reissues but nothing from proper) but we can't talk about everything at the same time...

same here, in the meantime there are also some clips of Redd with the same frontline on youtube, e.g., http://www.youtube.com/watch?v=nV-wYwMFkqk more Redd on the smalls live site (and an abundance of Clemons whose work i like a lot)

"And let's not forget that if it weren't for Pujol and Fresh Sound, we'd never know how most of the jazz albums recorded in the 1950s sound." there's no arguing that this statement is totally wrong (OJCs, the BN series, ... even if they're out of print now - as is a good deal of the fresh sound catalog btw..., the blogs... other reissue labels (especially if you follow Pujols claim that only Fresh Sound is his label)); and if you look around you also find "inside" people complaining (like David Weiss in the other tread or Laurie Pepper calling Pujol a liar in the comments to the interview) all in all (masterings, artwork, pictures, liner notes) i would vaguely guess that about 50% of what Fresh Sound issues violates (Spanish/EU) copyright in one way or another...

Dial!

he did play a concert in munich yesterday, don't know much more than that he made the gig...

for proof, see also your last post in that old thread :-)

Danke! "I talked to his widow on the phone tonight. He worked just until the very end and left us peacefully in the night from Friday to Saturday."

the high king ubu and me have a theory that you should just put nonsense information such as "000" into all fields because the computer will hesitate to overwrite this information (as opposed to no information at all) but haven't tested it thoroughly so far

late to the party, happy birthday!

here's the old thread?

if i read this here right http://en.wikipedia.org/wiki/Photography_and_the_law#Copyright then francis wolff's cover photographs are still protected in the UK until 2041 (he died in 1971 + 70 years)... but maybe they got around that protection through the collage they made (iirc avid does not use the original covers of blue note albums); and reid miles died in 1993 so that would make it 2063...

i always forget these things and they don't really matter, but doesn't the original artwork have a longer protection? same for remastering and stuff unless they do their own vinyl rips?

and if you buy one you won't go to heaven no matter what the test in mikelz777's signature tells you. (plus if you buy it from the US, someone is guilty of something - and if you're aware of that then at least morally part of the guilt is yours - like if you order cocain from a place where it's not illegal) (plus if you buy something which looks so ugly - ...)

i don't get why there's still market for this type of cheap reissue (both legit and less legit) where you buy a huge pile of albums with little documentation in ugly packaging ... as far as i can see this type of release becomes more and more common - but in the age of downloads and free streaming sites to me this seems like the opposite of what i would have expected to happen - i can listen to, say, the hank mobley mosaic legally and for free anytime i want - why should i spent money on "3 classic albums" in that type of package.

just because it's on my mind right now and i can't find the interview, drummer Bill Heine is the "empty handed painter from the street" from the Bob Dylan song... doug ramsey also made a companion post http://www.artsjournal.com/rifftides/2011/10/ill-be-seeing-you.html in the comments, there's a link leading to red mitchell's vocalese version of I'll be Seeing You from the Atlantic album (singing along with the album)

the comments to the review are worth reading as well!

happy birthday chris!!

glad to see the label is reactivated (or, at least, i have the impression there are new releases i hadn't seen before) http://www.smallsrecords.com/wp/catalog/ just streaming the alex hoffman album and really like it

that is indeed a difficult question - if you want to come up with something truly remarkable and original in 1971, you've probably been working on it for a good portion of the sixties, too... that holds to a lesser degree for less original music... i am far from a brötzmann expert but his 60s output includes For Adolphe Sax (1967) Machine Gun (1968) Nipples (1969) More Nipples (1969) Fuck de Boere: Dedicated to Johnny Dyani (1970) would agree though that brötzmann's music had a decided "the sixties are over" appeal already on Machine Gun (roughly, taking the music of Albert Ayler and replacing the spiritual side with beer, tits and automatic weapons) here's another supporter of Soft Machine btw

happy birthday!!

Chris A will be 80 tomorrow so he might very well be the winner!