Big Beat Steve

Exactly! This was THE CLASSIC type of Prestige reissue covers throughout the late 60s and all of the 70s. With these covers, you could tell Prestiges from very far afield (until the Onyx/Xanadu reissues came along that used the same basic layout, including for the liner notes ). I bought my copy of Mating Call with this cover in 1976 and (being only 16 at that time) distinctly remember how I was sort of uneasy about that "far venture" into (post-bebop era) modern jazz and about what to expect in terms of unapproachable "far out" Coltrane free jazz sounds from that record (having read about him in jazz books mainly in connection with his Free period, of course, and not really being full aware of his Miles quintet period yet). But Tadd Dameron's intriguing treatment of the tunes (he still ranks high on my jazz composer's and arranger's favorite list) really made this a fascinating and immediately acessible record that I still consider very worthwhile listening.

SEASICK STEVE! The man is ... well, elderly ... but the music is quite recent. Would that fit the bill? Really enjoyable, gritty down-home roots music to my ears.

I've never come across listings on eBay that looked as weird as those described by the thread starter but multiple listings of the same article by the same seller would not necessarily be a cause of concern to me, just a sign of annoyance. In fact in other areas I check more or less regularly (parts for collectible cars of specific marques) I often come across listings of NOS "wear and tear" parts (as usually sold by large wholesalers) for a collectible car where you will find identical listings of one and the same part for an older model placed there by the same seller. Beats me why they'd do that. If it is an auction item it is plain silly because who'd raise a bid if he knew another identical part may be just around the corner at the starting price? And even if it is offered at a Buy it Now price they might as well make a single listing that says "10 available" or "20 available" or whatever instead of 20 separate listings! Looks a bit like listing spam to me if I have to work my way through 3 or 4 pages cluttered with maybe only a handful of different articles, each of which is represented by 10 or 20 identical listings each. At any rate, that's another detail that really reduces eBay's attreactivity to me these days.

No, MG, I did not mean to denigrate the scope or coverage of your collection. Not by a long shot ... It's just that the examples that Stereojack named really "are around" and you are bound to stumble (literally) across them once you dig into 40s small band (and some big band) jazz.

Honestly, Stereojack, I sincerely hope that the majority of halfway ambitious and serious jazz collectors would NOT be narrow-minded enough to find the scope of jazz you describe too broad for their tastes (well, those geeks to whom hard bop is the beginning and possibly end of all valid jazz and who are largely ignorant of pre-Miles, pre-Trane jazz would be a different matter but I've never really grasped their stance on jazz anyway). As you said, some Signature tracks have been reissued so often they are really extremely difficult to avoid in any passably decent collection but a LOT of others have fallen unjustifiedly by the wayside and have hardly ever been resurrected. So maybe it's actually the umpteenth reissues of the "usual suspects" (Hawk/Pres, Heywood/Manne, Phillips etc.) that would prevent such a project because if you are highly likely to get a "I already have 50% of the contents of that box" from most potential purchcasers you are not likely to pursue the matter further. And doing an "uncollected" box gathering specifically the overlooked "collection gap fillers" would really demand too much of a keen collector's attitude to make it a viable route. Unfortunately ...

My, my .... I really dont know how much reissue mileage has been squeezed out of these Signature sides remarketed under Shelly Manne's name in the vinyl days (as if by the 60s Barney bigard and Eddie Heywood had already fallen off the radar to THAT extent ...) My copy is filed under "H" like "Eddie Heywood" (where it definitely belongs!!) anyway. The most common LP reissue I am aware of was on a U.K. LP credited to "Shelly Manne & Co." (same titles, same sequence) on EMI-Stateside SL 10125 released in 1964. Somewhat later (mid-70s) the same tracks cropped up under the same billing on the LONG-running Italian Joker label (SM 3260). AND no doubt there were many more. And at any rate including just these 12 tracks on a CD makes for a CD with really measly, lousy playing time! That EMI-Stateside 60s pressing must have been a big seller in its day (don't know how often I saw used copies at Mole Jazz in London in the 90s) and being on tha tlabel (with a subtitle "Licensed by Contact Records USA") this MOST DEFINITELY was an "official" reissue. That said, yes - the Signature label would definitely warrant a comprehensive reissue in much the same manner it has been done for Keynote, for example.

Very honored to provide what little information I can come up with so here is what I posted in early March here in a related thread: The May, 1981 issue of the German jazz mag JAZZ PODIUM had a note in its concert agenda stating that the 25/05 concert would be held in the BEETHOVENSAAL of the LIEDERHALLE (a somewhat smaller hall inside that Liederhalle venue that was most often used for this type of concert. In fact other - larger - halls of the Liederhalle would really be a bit overwhelming for anything but a symphonic orchestra or otherwise quite large event). The same issue of May has a 2-page feature summing up the career of Art Pepper but though I've searched high and low through the subsequent issues of 1981 strangely enough no review of the concert was to be found! Sorry I cannot provide any other input (though I am a local). Maybe you might want to contact Mr WOLFRAM KNAUER at the Jazz Institut Darmstadt. He is the curator of the #1 public jazz archives in Germany (that also hold the archives/estates of several German jazz personalities, including those of a local jazz photographer - in fact my former boss's brother - who might have attended the event and taken pics): http://www.jazzinstitut.de/ Good luck!

Selective deafness, I guess ...

Just to illustrate it, here is one such contraption (of 1948 vintage): And here are two more (from Germany, 1949):

MG, I cannot recall the exact sources right now and do not have them on hand but there DEFINITELY were autochangers in the 78 rpm era, i.e. turntables that were geared for 78 rpm ONLY. Maybe not everywhere but definitely over here in ("Continental" :D) Europe. I remember seeing ads for them in French mags dating to approx. 1948. So I have little doubt they existed in the USA too but while I have lots of documentation on c.1945-60 audio equipment from Germany (plus some from France) I have hardly anything from the USA so I cannot check. As for the record changer double LPs, I remember buying a few of them in the 70s when I started collecting (as ell as a few 70s pressings later on), and I always found this distinctly odd as record changers were largely a thing of the past here by those mid-70s. You could still buy turntables with an exchangeable centerpiece to be replaced by that spindle that would take several LPs but it was a fad dying fast. Maybe the fad lasted longer in the States as IIRC all those 1-4/2-3 double LPs I bought then were US pressings. Cannot recall any European double LPs (jazz or rock) of the mid-70s that were pressed that way.

I wonder if the way this "endorsement" that compares Masman's music to that of FRED WARING is featured prominently here is doing the band much of a favor if SWING/jazz fans are to be attracted to these reissues (Fred Waring, of all band leaders .... shudder .... ) ;) I have most of the Ramblers LPs released on the PANACHORD label quite a long time ago, and while those with U.S. guest solists stand out, quite a few other recordings on these LPs are very nice too (though these pre-war recordings do include their share of dross that really has dated pretty badly and shows the ability to swing is not something sustained that easily all the time ). Will probably get this new reissue as the track listing sounds rather original (not the umpteenth early post-war re-recording of In The Mood or Chattanooga Choo Choo etc., though yet another version of Americna patrol apparently could not be avoided ).

Try to check out secnodhand bins or online lists for that (80s/90s-reissued) LP series of early 60s surf/garage etc. instro rock'n'roll bands called STRUMMIN' MENTAL. That should suit your tastes and fill a few voids.

Offhand I can't tell you much about him either but I've had my eyes on him (as another example of that crossbreed of bop and R&B) too. Would be interested to hear about a comprehensive reissue. I tried to get one or the other 10-incher or EP of his U.S. King releases (some fancy covers there!) through eBay a couple of years ago but failed. Here's the cover of a French Vogue 10-incher featuring a couple of his King tracks: BTW, the 1952-53-54 issues of Galen Gart's "First pressings" mention him here and there but not in any great detail.

You might ask your question here: http://www.bigband-era.com/ Check the forum under "Big Band Talk" (you will have to sign up, though). Mike Zirpolo used to be quite present on that forum though I do not know if this is still the case (I've never bothered to dig out my password or obtain a new one to re-access the forum ever since I changed my computer over a year ago as that forum had gone rather stale for my taste; no matter how much you like swing music you can take only so much undifferentiated nostalgia from those who witnessed that time yet - except for a few exceptions such as Mike Zirpolo - never cared to broaden their vision beyond their teen days).

Having a soft spot for these 50s Lucky Thompson sessions (still need to unearth a couple of the French sessions - plus a few more! ), I've had a look at the track listing and must say I am somewhat baffled. Cam someone explain the underlying concept of these "Selects" to me? What is the point of assembling incomplete, heterogeneous sessions while leaving others (less frequently reissued ones but at least LEADER sessions) out? Considering how often people moan and wail about the omission of this and that track from sessions in reissue programming, I find this odd, especially in the case of a Mosaic reissue. And some of those albums included here aren't exactly thin on the ground reissue-wise anyway. Or is it that "because it's on Mosaic it's bound to be essential"? I realize this may be heresy to some around here but to me this kind of programming appears a bit redundant. Going to spin the (complete) EmArcy Jimmy Cleveland (DG) vinyl now!

This has happened to me more than once. The item(s) arrived safely, though. It is impossible to generalize because there are a number of factors at work: 1) What is the relationship between the weight of your item and your postal rates? Do they actually base their cost on every ounce of weight or is there one standard tariff within a given weight bracket (say, up top 500 grams and then up to 1 kg)? If the latter is the case and if you want to play it halfway fair towards the buyer then use the maximum of cardeboard you can use within the given weight limit. You never know what heavy-handed dimwits are at work further down the line in the "dleivery chain". And even if you have to pay by the ounce, don't skimp on packaging unless you are keen on DEEP RED negative feedback. 2) If you do not want to buy LP mailers but if you want to play the pizza box game (or any other non-LP box) then DO USE a maximum of cardboard inlays inside on BOTH sides of the LP. 3) NEVER trust an LP to arive safely if it is allowed to glide around inside from bump t bump. Wrap up the LP so it really does not budge inside. Otherwise inner sleeve splits will be the least thing to happen, and seam splits will be likely. 4) Some place the inner sleeve and the LPoutside the actual cover to avoid seam splits to the cover en route (but in this case you'd have to place it all in a clear plastic LP jacket - which costs too - and you'd have to use an extra cardboard or two on the LP side to make up for the loss of protection by the LP cover. (A detail many sellers - who probably consider themselves exceedingly smart for placing the LP outside the cover for shipping - tend to forget) 5) FORGET about polystyrene padding, especially when used in the form of polystyrene PLATES. They won't nearly stand as much abuse as you'd imagine. I still cannot get over the dumbness of that seller who once shipped me a (50s original) LP inside two layers of polystyrene with a total thickness of a wee bit more than a standard 2-3 LP mailer (and no cardboard outside!). Some object must have hit the parcel at an angle and - you guessed it, the vinyl cracked halfway through! (Hard to imagine the same would have happened in a cardboard mailer with 2 to 3 cardboard inlays inside on each side of the LP) About as duff as they come, some eBay sellers ... Good luck!

Or he is on substances we cannot even begin to imagine ... :D Time to cool down, really. Is there a doctor in the house who can issue a prescription for a few sedatives? ;)

??? Any number of threads on this forum (and elsewhere) seem to indicate quite the contrary. At least to me.

I cannot comment on 50s colored vinyl (Fantasy etc.) but I have quite a few 70s/80s LPs on colored vinyl and for the most part I cannot really hear any noticeable sound differences that can be traced directly to the COLOR. In some cases I even have black AND colored copies of the same disc and IIRC they all are the same soundwise. But my turntable is certainly not "high end" but rather a decent "medium end". And quite a few of those colored 12ins are reissues of 30s/40s jazz so it certainly is not the color that is decisive about reproduction fidelity. So things may be different on high-end equipment or on releases that are more current productions and not reissues where other factors (remastering? if any ...) weigh in too.

And then these ... Although the Stan Getz cover is a bit of an oddity: Using a FRENCH street scene to illustrate music recorded in SWEDEN? (Or is it an illustration of Verve's/the U.S. view of YURP? "France or Sweden - it's all the same to us ..." :lol: )

Getting back to the original subtitle of this thread ...

You got a PM.

Will check my 1981 copies of JAZZ PODIUM (as it is I still have them, though they are up for sale) and will be back with more detailed info (if any) on this concert at the Liederhalle (the only likely venue in Stuttgart for this kind of concert at that time) ASAP. Update: The May, 1981 issue of JP had a note in its concert agenda stating that the 25/05 concert would be held in the BEETHOVENSAAL of the Liederhalle (a smoewhat smaller hall inside that venue that was most often used for this type of concert. In fact other - larger - halls of the Liederhalle would really be a bit overwhelming for anything but a symphonic orchestra or otherwise quite large event). The same issue of May has a 2-page feature summing up the career of Art Pepper but though I've searched high and low through the subsequent issues of 1981 strangely enough no review of the concert was to be found!

Up!