Big Beat Steve

Thanks for your input, everybody. So there must have been a "pressing" run with only 22 tracks on CD4. Very odd ... This seems to be confirmed by this site that I came across while searching for a track listing before deciding to buy: http://eil.com/shop/moreinfo.asp?catalogid=494727 Though they indicate that the final 2 tracks by Vic Lewis were omitted for a total of 22 tracks on that CD (which does not seem to be the case after all). I guess I'l use the samples on this site to check more closely which tracks are missing on mine: http://www.amazon.de/BeBop-In-Britain-Various-artists/dp/B003HLX4IE

I can only roughly reproduce what DANISH pronounciation (to my ears, anyway) would sound like and how it ought to be transcribed but as far as I can tell and assess, the "iø" is pronounced more like an extended "öö" (i.e. "øø"). In short, the "i" is not pronounced that distinctly and the "i" and the "ø" are worked into a more open sound somewhere between "e" and "ö". Now try to reproduce that in non-phonetic spelling for English tonsils.

and above all, write it like it is supposed to be written: Schiøpffe "ship fa" is right as far as "something like" goes, but "sheep fa" or "shayp fa"/"shoyp fa" would be a little closer yet.

I am resurrecting this decade-old thread for a specific inquiry. After the Bebop in Britain 4-CD box set done by Charly (gathering Esquire recordings from the late 40s/early 50s) was mentioned in passing in the Tommy Whittle obit thread my curiosity was aroused so I checked the contents online and though I have close to three quarters of the contents on the Equire LPs reissued long ago I sprung for it as a dirt cheap new copy was around on amazon. So .... here goes: While listening to the 4th CD set ("In ALL Directions") the contents of which are mostly new to me, I noticed an oddity: This CD has only 22 tracks instead of the 24 listed on the cover and in the booklet. After aural checking, the Norman Burns quintet occupies tracks 9 to 13 instead of 9 to 14 (Bye Bye Blackbird is track 13 instead of 14), and one of the Tito Burns tracks also seems to have gone AWOL. DId any others who won this set notice this, and do any experts happen to know which tracks exactly are missing? (Not being famlilar with the various originals on that set it is hard to tell which is which if you have not heard those tracks elsewhere before)

Rutland IS there alright, MG. Just check the map here and compare with Bev's pink map: http://en.wikipedia.org/wiki/File:Rutland_UK_locator_map_2010.svg

Sounds familiar ... Just ask Americans who intend to go to Germany or even those who even have been to Germany (!!), including those who've been shipped here by the Army, and you will find that there is an alarmingly high rate who steadfastly insist the Heidelberg Castle is in the heart of Bavaria which of course is straight along the River Rhine! And so on and so on ... This would be a bit like "Yurpeens" believing each American wears ten-gallon hats while surfing the waves along the coast ... but how many of those who believe THAT could there possible be? Like you said ... presence of the US in popular culture everywhere on the globe does help to "educate" people a bit sometimes ...

R.I.P. to a true legend.

King Ubu, keep cool. You might risk fighting a windmill battle against preconceived ideas. There just is no point arguing if you are being accused that keeping silent means you tacitly "agree". "... the caravan passes on", you know ...

So I'll go on record here as stating that Richard Sudhalter's "Lost Chords" IMHO is an important book in jazz literature (if only to round out the overall picture) WITHOUT taking anything away from the important (and overall definitely predominant) influence and achievements of black creatorship and originality in jazz. There are more shades to make up a full picture than one sometimes imagines or would like to believe or make believe.

My deepest sympathy, BeBop. Words are said easily and it may sound shallow if I say I can imagine how you feel - but I really can. My mother died of breast cancer at 49 (when I was 12) and my younger brother died of leukemia at 20. So you see ... way too early too ... Hope you will find the strength wherever you look for it (including in your favorite music). Do take care!

Me too. Keeping my fingers crossed as well.

... and what you are ABLE to do with it after you make it. (e.g. Michael Brecker who has been named twice here)

Thanks for the hint, MG. Did so too and hope it wil ship as soon as they promise there. This is amazing. I checked this item at amazon.de last weeke and they had it for preorder as it was supposed to be released here on 18 november. And now it already is "currently unavailable" and we haven't even reached 18 Nov.

I am no great expert on jazz of this style and period but it is always commendable to see these discographical details are followed up and sorted out. This is bound to come in handy somewhere sometime ... So ... keep up the diligent work!

Still keeping my fingers crossed that my books will arrive soon. So once my books have arrived I'd be very interested in the follow-ups of The Really The Blues CD set that were never issued at the time (all beyond CD No. 9 if i got this right).

Yes, the Dexter Gordon Dootone is very nice, particularly since his recorded legacy around that time is extremely slim so any aural evidence is welcome. I cannot speak for the Boplicity CD reissue of the Buddy Collette LP (I have a reissue on vinyl) but musically speaking I find it quite enjoyable. It's not something you would want if you were all set on earth-shaking trailblazers but for straight-ahead jazz of those times it is well done. Though I must hasten to admit that my own perception of those items is a bit colored by my personal approach to this entire subject: "What, JAZZ on Dootone, that R&B and doo-wop label? What would THEY have been doing there?" A bit like with the Sonny Criss LP on Peacock, for example. Curiosity in this way of listening might mellow my judgment a little compared to that of others who might compare details to output on this or that other (strictly jazz) label. Er ... how many more smilies would one have to insert to make it clear that is is not a matter of criticising but just of poking a little fun? (Besides, it WOULD have been possible to get it right ..,

@King ubu: See how this thread gets derailed due to this ongoing ambiguity in the title? One might almost be inclined to think this to and fro with the thread title renaming is a case of "I as an eminent thread title changer cannot be made to act as a serf of simple forumists and change the thread title like he/they want(s) it but I am going to change it MY way!" My my ... Ah, if it only had been a Blue Note reissue. Then it would OF COURSE have been fully in order to narrow down the specifics of a thread title (and content) to whether SACDs are actually improved by XSACDs or XYZSACDs or if a 25-bit remaster is better than 24 or 23-bit remasters or whatever .... But lowly Dootone/Crown/Boplicity? Ah, lump it all together ... Looks like it will therefore be hard to keep focusing on Boplicity ... Anyway ... @Greg M.: P-Vine was really FINE in the vinyl days when they ran reissues of R&B 78rpm-era releases that had not seen the light of reissue days anywhere before but now ... ? I've read rather lukewarm reviews of P-Vine CD reissues in print here and there in recent years but cannot vouch for sucjh judgment first-hand. They are hard to get hold of and those P-Vine CDs that I have seen in more recent times somehow did not seem that unique in what they covered, so ... @crisp: Tongue in cheek undertone of your post duly noted but in a pinch there would always be room for a spearate thread covering additional source labels, wouldn't it? (See my above swipe at how specific BN threads can get, for example ...)

You mean this is some kind of "French" or "Franglais" and his name is not pronounced like it is written, i.e. like in "Teach-in"?

Arggghhhh .... Are we discussing original Dootone and Crown releases here? Please, mods, now that you did change the title of this thread, why not change it the way I suggested? Dootone and Crown reissues on Boplicity THIS is what it's all about, isn't it, after all? So why be ambiguous?

Would be a bit of a pity since the actual topic WAS Dootone - a label not discussed too often overall (whereas Crown has been discussed elsewhere too). Or he would have to rename it "Dootone and Crown JAZZ reissues on Boplicity" make it bulletproof.

That's right. They have the Modern/RPM files (which is what Crown - the budget spinoff of Modern/RPM - ultimately is). My question/doubt above concerned the situation of the Chet Baker/Chico Hamilton releases that clearly were not RECORDED by Modern/RPM/Crown. Hamilton's CLP5310, for example, is a combination of 1956 recordings first released on Pacific Jazz PJ1220 and World Pacific WP1231. So came these masters to be owned or LEASED by Crown?

(Although I admit I didn't know about this Dootone thread when I posted it.) And you did throw Dootone and Crown together too.

So if Boplicity had packed their CDs the usual ACE way the TWO Hawkins LPs would indeed have made up a nice reissue CD (as stated earlier). One LP only on one CD only is a bit skimpy. Unless the actual CD reissue includes alternates, etc.

What I meant was something else, King Ubu: The Dootone reissues by Ace of course are legit, though this is a pointless aspect since they were made in a time frame that is and remains P.D. in Europe - what counts, though, is that Ace has the Dootone files, it seems, and therefore is more likely to come up with alternates, acetates. etc. Which might make for potentially interesting reissues. But I cannot see any link between Dootone and the last three items linked and shown above (Hawk, Baker, Hamilton). Except that they are also reissued on Boplicity. I am not sure if the Hawkins LPs actually were ORIGINALLY recorded for Crown (i.e. Modern/RPM) but apparently (from what has been said above) the Baker/Hamilton items are rehashes of material originally recorded for Pacific Jazz. No idea how Crown came by them back then (but if you go by some of the semi-anonymous V.A. Crown samplers released it was no isolated incident) but at any rate they seem to have been part of a "budget line" marketing plot of REissuing items that had already been release elsewhere before. Nice to have as an oddity from those times if you can grab an orignal LP but IMO at bit pointless as a reissue of the actual album right now, given that those tracks ought to be around elsewhere in their Pacific Jazz packagings. Now could Crown possibly have had the first-generation masters for those Baker/Hamilton recordings in their vaults at all? Did PJ relinquish ownership of those masters to Crown? I wonder if Ace are doing themselves a real service by going that route because IMO it detracts a bit from their usually thoughtfully produced (and fully packed) CD reissues from their Modern/RPM vaults. Could it be that Ace haven't quite come to grips yet as to how to best repackage original LP releases for reissue instead of 78s?

Look out, everybody .. if you move seamlessly from Dootone into the Crown label without any distinction between whether the said Crown releases actually were genuine Modern/RPM recordings or maybe recordings from other labels that somewhow had ended up with Crown for "second time around marketing" in the form of reissues for the budget market or whatever, then the implications of where the masters (possibly available for reissue) may be and what is available where else and from which primary source may change drastically ...