Big Beat Steve

Same here. I'll spring for this for sure. Almost too good to be true. (I suppose it will be a long while, though, before we get to know if Jazzmessengers will carry this? ) The best news about this IMHO and TO ME, though, in the link above was that the Goodman material will remain "in limbo". I was half afraid anybody who'd release this in a "physical" format would jump for more of the most obvious "biggest" names. But honestly, there already are so many BG airshots and live recordings from that period out there that I guess most can do without more versions of '"Rachel's Dream" or whatever in that vein (UNLESS of course that there are substantially more recordings of the sextet featuring Charlie Christian and playing tunes that so far have NOT been preserved for posterity - but how likely is this, I wonder??).

Interesting to read these assessments by the "elder statesmen" of this forum. Maybe this description of how it "hit" people describes how it hit me too. I've never been much of a Coltrane fanatic (and make no excuses for it - if you get into the various styles of jazz somewhat chronologically instead of in "backwards chronology" there is MUCH else out there in jazz). Free jazz never was my cuppa, I did not feel a need to get as deeply into hard bop as into swing, R&B, bebop and WCJ, and as I've had most of the the classic Miles Davis quintet LPs from the 50s for a very long time this covered my immediate Coltrane needs and I held off on others (particularly since his own (Prestige) LPs from the same period permanently seemed to be out there). Now we had a public TV channel here that filled the late night hours (after the regular programming had ended) with cycles of hour-long previews of the upcoming TV schedules for the week ahead - to the background of late-night jazz and other stimulating "mood" music (i.e. certainly not just "soft" music). One night, a good 15 years ago, I happened to zap into that channel and the music caught my ear. This just seemed to be right, not for this late hour but overall .... This jazz impressed me enough to stay tuned in much longer than I'd normally do for this kind of preview, and eventually the "fine print" of the credits came up and said the music came from the "Blue Train" album. Within a few days I found a newish BN reissue LP of it at one of our two still decently stocked local record stores. I still haven't added substantially to my Coltrane LPs but this one was a "must have" ...

This one, maybe? (Missed it at the time, unfortunately, hope it gets rebroadcast one day) https://de.wikipedia.org/wiki/Jazz_f%C3%BCr_die_Russen_%E2%80%93_To_Russia_with_Jazz As for Bill Crow's memories being "non è vero" - I'd give it to him that they WERE "vero". He wasn't the only one remembering this kind of behavior. Just read Terry Gibbs' autobography and HIS reminiscences of "The Fog" (aka "El Foggo" ).

Those clips won't play here in Europe so - one question: If I get this right they incuded a larger part of the more advanced examples from the book at long last for CD 2 (which is what the LP did not include, right?). How does the sound compare? Good, cheap secondhand copies of the LP should not be hard to locate here so I am wondering what would be the clincher for the CD (except that I'd like to hear the Tadd Dameron tunes but OTOH am no "late Goodman" completist at all).

I thought so too.

My Goodman records don't (yet) extend that far but maybe this is of some use? https://www.theguardian.com/news/2013/apr/14/benny-goodman-moscow-observer-archive And while you listen to the music, relax and sit back in your chair and treat yourself to this: http://www.billcrowbass.com/billcrowbass.com/To_Russia_Without_Love.html

Here, for example: https://www.abebooks.com/California-cool-West-Coast-cover-art/12194090782/bd

My thoughts exactly when I opened this thread. I have a couple of Esquire EPs bought secondhand in the UK in the 90s (and also 2-3 78s), and 2-3 years ago I picked up the below LP at a fleamarket during our holidays in Southern France. Sadly pretty shot but interesting just for the cover and at a price of 1 euro you can't go wrong. Besides, I already had Prestige 7003 (OJC facsimile reissue) with the music in mint shape. The elderly seller who disposed of quite a few jazz records of his at the same low price (somewhat more recent releases, in better condition but clearly "enjoyed") told me he had bought this particular LP - his first LP (or jazz LP?) - as a youngster while on a school exchange stay in London in the 50s. Nice story and one more reason to reserve a spot for it.

Keeping my fingers crossed this will work out alright again soon. Get well really soon and stay on it.

Seeing this with some delay ... I have that LP and it sits next to the Onyx/Xanadu reissues of 40s swing/early bop on my shelf so this might give you an idea how I (just me) rate it. As for the rarity of the contents, it all depends on how comprehensive your collection of 40s/early 50s jazz is. Some examples: The Ike Quebec tracks are from one of his Blue Note sessions, the illinois Jacquet tracks were out on Aladdin, the Gene Ammons track was on a Prestige 78 but apparently was not incuded on the later Prestige vinyl reissues (because it had a vocal? "Oh - lowly R&B!" ) so is rare in vinyl form. The Allen Eager track originally was on the Jax label (rare enough) but was also reissued on one of the "Al Haig meets the master saxes" LPs on Spotlite. So .... the contents were rare when this LP was issued in 1973 (unless you had the 78s) - as the liner notes say: "It is hoped that there will be no duplication with existing LP issues in the US" (as of 1973 ...). But now and with the benefit of long-time collecting?

Very nice. Thank you!

Must have missed this thread at the time, but even album covers (e.g. EmArcy MG36003) have pics that can be used without interfering cover artwork. Or how about this one?

Speaking from experience , these low-down-at-the-bottom areas for filing paper items are about the worst storage place because this is where dust inevitably gathers fastest. You'd have to pull them out often for cleaning. Or do you have a siding glass panel in front? As for the shelving itself - excellent. I will have to think about vertical partition walls for my setup too. 15in-wide shelves without partition as it is now (or even apprix. 22in as it is going to be in the new shelving) really is too wide if the shelves are relatively full. BTW, speaking about the extent to which your compartments are full (or empty), have you ever had any problems with 78s warping in such storage where the 78s remain at an angle and not all upright? I have had one very odd case a long time ago - a Nellie Lutcher 78 on Capitol which i had filed on one of those wire-type record racks that were common in the 50s. Over time (several years) it warped very distinctly - to the extent of becoming unplayable, and to a lesser but quite noticeable extent this happened with a Tennessee Ernie Ford 78 (again on Capitol - were they more prone than other labels?) too. I definitely remember they were flat (at least 98% flat) when I bought them. No heat or sun exposure either - and other 78s stored in the same rack were unaffected through the years. So all in all I fill up my shelves fairly well to avoid this happening - but am getting wary if things are too full because literally "pulling" them out and pushing them in again is a huge risk you need to avoid with fragile 78s.

I know the difference - I was just trying to give examples of the online presence of this record on collectors' sites. I'd have been very surprised if it had been for sale "just like that, in passing, up for grabs" on discogs. Discogs has a lot but I've actually seen quite a few artist entries there where they did not have a particular (comparatively obscure) record listed that I happened to be looking up there too.

Well, it's here, for example (and on jazzdisco.org): https://www.popsike.com/78BluesGold-Star-618Curtis-AmyRARE/370371535151.html

Would you be able to show a picture of your shelving on occasion? Just curious - and in search of inspiration, maybe ... This winter I will have to do some serious reshuffling of the wall shelves in and around my music room to free some more space for my LPs (and books too, hopefully). The 78s (I have about 1,000 in all) might have to move next door from one Ikea shelf to another, slightly wider one. Both of which have proven quite satisfactory for their task but other ideas (including for partitions within the shelving) will be welcome. BTW, the Curtis Amy 78 must be a fascinating one. This name combined with the "rural" image of the Gold Star label ... Has it been reissued?

Yes, keep them coming. It's interesting what's out there (and what us mere mortals - at least over here - for the most part will never be able to see "in the flesh" and will be able to hear "only" by way of reissues, if at all)

More in the field of jazz: The original title of Gerry Mulligan's "Apple Core" was "So What" (and was recorded under that title too) - and this was NOT the Miles Davis tune.

This one??

I became aware of this "Presents" series back in 1977/78 when they hit the market. A jazz radio broadcast I caught discussed this newly-released series of LPs and played excerpts from several, the radio man wondering how it came to be that this was all about "presenting" such confirmed stars from decades past, with the career of Lionel Hampton in some cases only slightly preceding that of some of those featured. Wouldn't a "Presents" series have been devoted better to up-and-coming young 'uns? So he found the idea of the whole series a bit odd. A feeling I somehow shared. The music I heard there (I even taped some on cassette) wasn't bad at all but rather mainstream-ish. OK but not adding much substantially new and somehow lacking the "period" edge of the earlier recordings (at least those I had heard by that time) of the featured artists. Later on, in the late 80s I got a copy of the "Presents Gerry Mulligan" LP along with a stack of other jazz LPs that a friend parted with. I listened to it, found my impressions confirmed and put it in my fleamarket box and eventually it got sold. But who knows ... if I come across copies from that series now at one of those clearout sales I might even have second thoughts ...

Good question. I've been wondering about this at the very latest since I bought a copy of the Hank D'Amico "Holiday with Hank" Japanese CD reissue (CDSOL-6077) from a Japanese eBay seller a couple of years ago and upon receiving the item found that the small print on the back page read "Not for sale outside of Japan". No doubt this statement is there for a reason. But somehow discussion of this aspect never evolved very far here ... I wonder why ...

Uh oh ... how time flies ... didn't recall it was on THAT one the P.D. question was discussed to and fro too. I wonder if there have been any more recent interviews, after that 50-year, non-retroactive European copyright law came into effect in 2012. Did any of the publications ever try to interview any of those who run other P.D. labels, I wonder?

Interesting interview, thanks.

Actually I am not at all sure this "Pricing Policy" is as it seems to be. I have always considered Lone Hil to be a subsidiary of Fresh Sound so I am a bit puzzled that the Lone Hill reissues are more expensive than the Fresh Sound ones. BTW, their "Cool 'n' Blue" label reissue catalog also looks like it has been around for a long time. I bought 2 of them about 20 years ago. This label does not look like new reissues in THIS field (78rpm era) are being added anymore either.

Same impression here. I cannot quite figure out where the actual dividing line is between the Fresh Sound and Lone Hill reissue catalogs. I occasionally bought Lone Hill CDs where they filled a gap in the reissue world (e.g. Dick Twardzik or the second and third Dot LPs by Rusty Bryant). But I find that reissue policy of filling up a CD with PART of another LP a bit annoying. If I had wanted the contents of the "Silver Vibes" LP (on Columbia) by Lionel Hampton, for example, I would have had to buy two of their Hampton CDs that essentially are reissues of his two Audio Fidelity LPs (which I both have). Just like with some Fresh Sound reissues. Admittedly I couldn't think of another approach if playing time is not sufficient for 2 LPs on one CD, though, but it makes targeted buying difficult sometimes. And looking at their pricing policy, is it really so that Fresh Sound is the "budget" line and Lone Hill the upmarket line now? (9.95 vs 14.95 EUR)