Joe

So... fair to say Mr. Driggs was not exactly conscientious in recording the provenance of many of these images? Not defending FD, as I know next to nothing about the specific controversies surrounding his acquisition of these materials, much less his turning a profit from them, but, in the interests of providing maybe a little more context... As someone who grew up with a collector (and of many things), it seems to me that the business, regardless of what is being collected, is always at least a little sketchy around the edges. But this is how libraries and archives have almost always been built. Such figures aren't artists, but they do leave a legacy -- an oeuvre, if you will -- and, just as we often forgive artists for being less than admirable persons, perhaps the same leniency could be extended to figures like Mr. Driggs? Besides, now that he can no longer claim ownership of these photos, etc., isn't there some chance that reparations (credit-where-credit's-due, $) may be made?

Hey, I have some of these. Had no idea they were Martins. Another Martin. Also, if I'm not mistaken, Prestige was sued or threatened with legal action over this cover [?]

"Liner notes by Ken Burns."

How is this not on that Starbucks-owned record label (Hear Music?)

Ed Blackwell, "Augmented" (from the Black Saint OLD AND NEW DREAMS), has long been a favorite.

There ya' go, fixed ttat for you! :tup

Not to be clinical about it, but... sexuality is complicated; sexuality within a community of individuals who share a history of slavery and racial discrimination and general disenfranchisement much more so; sexuality within a community of artists who also happen to share a history of slavery and racial discrimination and general disenfranchisement that much more so. PORTRAIT OF JASON, among other things, helps to illuminate that complexity.

http://canopycanopycanopy.com/13/another_portrait_of_jason

Thomas Ligotti's TEATRO GROTTESSCO Short stories; Ligotti's main inspirations appear to be Lovecraft, P. K. Dick, Borges, and his own Rust Belt surroundings. The writing is always as sharp as I'd like it to be, but he has a deft hand when it comes to atmospheric effects, and there are ideas aplenty herein.

I've used Startlogic for several years and have found them to be very good. Not sure how economical they are, but worth a look.

:tup :tup

Thanks. As I feared. Seems like luck was never on Mr. Nichols' side.

I seem to recall that this has been answered elsewhere and before, but none of my searches has proved productive... has it ever been established whether or not there is unreleased material from this session? Roswell Rudd's Mosaic set discography lists 6 additional performances, all presumably Nichols originals: Riff Primitif Debra's Tango Neighborhood Journey Hip The Happenings Dolly I can't imagine this material would have not been reissued by this point if it does actually exists, but...

Yea, kind of like a Chewel that sprawls all the way to Oklahoma.

Dallas has always suffered from a kind of terminal Anglophilia. And I have been told that I'm an old soul...

kerosene? Happy Birthday !

Well, you kind of need GREATEST HITS, or some collection that sports "Thank You (Falettinme Be Mice Elf Agin)" which was a single-only release. STAND!, too, and RIOT. FRESH is, IMO, the best / most musically significant of the later LPs.

I'm very confused. I thought the Blue Meanies had been driven out of Pepperland years ago.

True 'dat. Even Carter's WHERE? is much less of a bassist's than a cellist's date. But it could have been the first in a string of Carter-led sessions, only it wasn't...

I know he was very busy in the studios, which is why Gary Peacock, Richard Davis, Albert Stinson, etc. appeared with the Quintet on various tours. And although Carter is a great musician and has written some great tunes, I've never gotten the sense that he has a "vision" - a music that is distinctly his "own." Disagree. Carter's piccolo bass group in the '70s pursued a distinct sound ideal and his more recent trios with guitar and piano go for a kind of immaculately tailored refinement of the mainstream. I'm leaving aside value judgments on quality/profundity of the results and simply addressing the notion of vision as a bandleader. It is true that Carter's own bands have been about things that are very different than his most innovative and influential work he did with Miles and others. Fair enough. Carter may have still been "evolving" as a player / musical thinker during his time with Miles, but I would argue that Herbie, Wayne and Tony were as well. And I am basing some of my wondering on Carter's significant contributions as a composer on E.S.P.... though, again, he, IIRC, he did not contribute anything to Miles' "book" after that album. Which prompts further wondering, though I should probably just trust my ears on Miles' music pre- and post- Plugged Nickel.

And a related question... Ron Carter was the only member of the quintet not to be active as a leader (at least of recording dates) during his Davis tenure. I wonder why. Was he just too busy?

Interesting; thanks. Would still be very interested to hear this performance. Seems like Timmons was sort of experimenting with modal structures on this date, and I wonder is "Remembrance" is a continuation of that. I absolutely LOVE this date (The Soul Man) -- maybe my all-time favorite "less well-known Wayne" date. I can't quite put my finger on why, but everything just seemed to work perfectly on this date. "Tom Thumb" surpasses Wayne's later BN version, and most of the rest of the tunes are compelling, with Ron Carter's "Tenaj" being especially interesting. The date that occupies the first half of this reissue (the original WORKIN' OUT), featuring Johnny Lytle, is no slouch either.

Bobby Timmons' THE SOUL MAN (reissued as one half of WORKIN' OUT back in Fantasy's glory days), while it only features Shorter and Carter, does have something of the feel of the Miles quintet sessions from this era (January 1966), and, to my ears, more so than Shorter or Hancock's BNs (with the possible exception of Wayne's ET CETERA). The Timmons session features 3 Carter compositions as well as the first recording of Shorter's "Tom Thumb". And on drums is Jimmy Cobb, which lends the affair a whole 'nother Miles connotation as well. Postscript: according to this Wayne discography, one tune from this excellent session remains unissued... Wayne Shorter (ts) Bobby Timmons (p) Ron Carter (b) Jimmy Cobb (d) Rudy Van Gelder Studio, Englewood Cliffs, NJ, January 20, 1966 Little Waltz Prestige PR 7465 Einbahntrasse (One Way Street) - Damn If I Know - Cut Me Loose Charlie - Tom Thumb - Tenaj - Remembrance unissued

Very nice; Webb's one of those songwriters whose work truly transcends genre.