Teasing the Korean

Some of us want the convenience of playing a CD through a stereo system. A YouTube link won't do that. So, some us shall choose to buy PD releases. If you want to go a different route, more power to ya. Incidentally, aside from the two PD box sets I mentioned, I recently bought on Qobuz a download of seven Sabu albums for $6.99. I basically wanted it for Safari with Sabu, as I had most of the others on either LP or CD. So I bought it, and Safari sounded great. No complaints.

The 2009 Universal fire proved that record conglomerates are not in the business of cultural preservation, as though we needed any further proof. So, yeah, in some cases, I am very thankful for these releases. Do I buy many of them? No, and I believe that I own only two of those cheap PD jazz box sets. One of them sounds great, the other sounds lousy. C'est la vie. At the end of the day, I believe in making the music available. If the rights holders have no interest in doing this, I am indeed thankful for other options. I am not going to wait all my life for an ideal release that will never happen.

I love this drummer.

Well, sure, but that is kind of where lots Brasilian music had gone in the post-Tropicalia era. But I hear you.

It is, but would you agree that this is the standout track? I would love an entire album in that groove!

On the other hand, I'm sure that biographies on Kraftwerk, Klaus Nomi, and Nina Hagen would work much better in German.

Of course not, but the conversation took some twists and turns. I wasn't suggesting that all PD labels are equal. And it's not about punishing corporations. It's about making the music available. We can decide which ones we want to buy and which we don't. .

If that is directed at me, I never said they were. I was discussing grey market releases more broadly. But if the majors are too stupid to exploit their back catalogs, I fully support the PD labels.

I was a consultant on a few releases for a Euro label. The proprietor told me that in the late 1990s, as the earliest LPs were beginning to slip into the public domain, he reached out to the majors. His interest was not in doing PD releases, but rather working with the majors to do high-quality reissues before they fell into the public domain, to prevent PD releases. He went to each label with.a list of albums, many of which were esoteric and slipped through the cracks between genres, but had gained interest via DJ culture. His idea was that if the majors did not want to release the albums, his label would license them and do high-quality releases from the masters. The labels basically shrugged him off, and had no interest in doing any of them, either with him or without him. All of this began to change when the catalogs of rock-era artists such as the Beatles and Dylan were at risk. From that point on, it seems like the majors are more willing to work with reissue labels such as Real Gone Music. But for the albums released between 1948 and 1962 or 1963, there was zero interest. And of course, a lot of great jazz albums were released during that timeframe.

Yes, I think he is still around. Did you listen to those two tracks? They are fantastic! When I used to DJ, they were always top selections.

Enjoy! As I mentioned, the early chapters may feel like a slog, but they provide important context for what comes later. Some of the figures referenced early on will also come back later in the book.

It involves confidential information and conversations that I would rather not place on a public forum. I can't speak for all the labels. I can tell you there have been many instances in which the majors would not license recordings, not feeling it was worth their time and effort to look for masters of obscure albums. These were albums that the majors were not reissuing themselves. I do think that the majors - the two or three that are left - have loosened up quite a bit in this regard. But in the early 2000s, when LPs from the 1950s began turning 50 years old, the situation was different.

When I was 12 or 13, I got Dave Brubeck's Greatest Hits. It was my first jazz album, not counting my parents' albums. I felt very adult listening to it. One day, my parents visited their friends, and I went along and hung out with their teenage daughter. She was into music, so I brought a couple of records with me. She put on a Judas Priest album. I didn't like it. After it ended, I put on Dave Brubeck's Greatest Hits. I distinctly remember her saying, when "The Duke" came on, "This sounds like Peanuts music."

Correct. And at least some of those labels tried to work with the majors, and the majors decided that it wasn't worth their time. Hence, the vinyl rips.

Correct. And those labels would much rather have released albums from the master tapes instead of vinyl.

If there is suddenly a marriage of convenience between the conglomerates and the grey-market labels, it is long overdue. It would have been to everyone's advantage for them to work together and cut deals.

Thank you! I wonder what Puente's reaction was to the other two tunes. Better yet, I wonder what the publisher's reaction was.

In many cases, it's just a little wear and tear on your fingers when you type.

It's already free. It's all on the interwebz. You may need to learn how and where to search, but it's all there.

The creators are mostly dead, and the sessions were paid for a long time ago.

I have two albums by them. What is interesting is that each album has one absolute drop-dead standout killer track. Here is one: And here is the other: So my question is: Does anyone know if Adolfo, with or without Brazuca, has other tracks that sound anything like either of these?

The big question is, depending on your space, lighting, and configuration of your setup, will it be easy or difficult to switch back and forth.

To you, Sweetheart, aloha!

And CD Baby!

A music lover starts a label, can't handle the business aspects, and hands it over to professionals, for better or worse. Has happened since the beginning of the record industry.