Guy Berger

How much of this decision i From what I understand, the gas mileage differential between Ford's sedans and crossovers is very small

Is the boldfaced statement definitely true? What about different segments of the market - new materials and reissues of relatively esoteric material vs. "mass" reissues (popular BN titles, Davis-Coltrane reissues)? If the audience for the former is younger than that for the latter..

HH’s albums for BN are probably the biggest duds for me relative to expectations, for any artist on the label.

The plot line of having decent young people hanging Even for seasoned horror movie viewers, the plot element of hanging out with earnest young Kenton acolytes might simply be too terrifying

I didn't articulate well. I meant to say that (at least prior to my post) the complaints in this thread were entirely about what was being reissued, nobody was complaining about the focus on reissues vs. new music. "Jazz's corpse - should we burn or bury?"

"Remember when you guys still made non-boring music? That was a really long time ago"

Just an observation: the main alternative to repetitive reissues presented in this thread is "stuff recorded a long time ago but still in the vaults", not new music.

Lloyd's best 1960s music: the stuff w/Cannonball & Chico, plus the 2 Columbia albums, plus Dream Weaver. There's some good stuff on the Atlantic albums but it's almost all at least a tier lower.

Yup. History is what it is and who knows why Bley never recorded for Blue Note even as a sideman, but Alfred Lion certainly had an affinity for unique piano players. Maybe he just didn’t like Paul Bley. @clifford_thornton‘s “non-salable” doesn’t ring true to me either. They recorded 2 Cecil Taylor LPs.

I think the slickness/smoothness of their sound is more of a problem for me than the repetitiveness.

I have heard only one of their albums - Holon - and tbh I don’t like their sound/style. Totally willing to acknowledge it’s a blind spot.

totally agreed.

I think I'd put Lee Morgan on there as someone whose average sideman work was superior to their average leader work. (Also, Blue Mitchell. I kind of feel he's a sideman even on his own records!) Also, though Wayne Shorter's Blue Note leader run is among the best on the label which maybe disqualifies him, his contributions as a Blue Note sideman are among the best by anyone.

Have any of the live recordings that have been released in this series NOT been either recorded by Columbia or already widely circulated? Guy

Savvy marketing. More jazz artists should probably do it.

Also common in large chunks of corporate America.

This stuff is so good. Russell's vision + brilliant young musicians = excellence.

To me as a prospective listener "I don't like this style, ergo didn't enjoy this music" and "I am fine with this style but didn't think the group was good" have different implications.

Can you be a little more specific? I haven't listened to either this group or to Cory Weeds's, but from looking at their respective recordings Weeds focuses on the early, somewhat more mainstream Blue Note material and Lugerner explores the later, more experimental Blue Note work. I recall from past threads that you aren't particularly fond of post-1960 innovations in jazz, which is totally cool, but is the essence of your gripe too much new gospel and not enough of the old?

Some of the greatest recorded jazz has limited or zero improvisation, right?

@Kevin Bresnahan is right - I mentally mixed up Debut and Candid, probably influenced by Candid's lo-fi aesthetic. Sorry guys!

Wasn't Mingus unhappy with the financial arrangement? I seem to recall something like this cited in Priestley's biography, plus shortly thereafter he created Candid.

Mingus is one of those jazz artists who rock fans tend to connect with fairly easily. Intense rhythms, memorable tunes, bluesy, "attitude". I don't see a reason to go via a mediocre fusiony recording. BLUES & ROOTS or MINGUS AH UM should do the trick.

Leaving aside material that is genuinely rare or of historical value - why is saving the physical media necessary?

I assume digitization means shifting it to cloud storage? i.e. nearly all of the content will be preserved? If so, then this story kinda sucks because any endeavor of this kind will generate some losses of rare material (as would physically moving the CDs to a new building, FWIW), but nearly everything will be preserved. There's nothing special about the CDs themselves. The 78s, scores & manuscripts situation seems much more potentially alarming. Guy