Big Beat Steve

Totally forgot about Scott Joplin. I have a few Biograph LPs by him and James Scott with piano rolls transferred to vinyl for reissue. But discounting vinyl reissues of piano rolls, I find I also have this one with recordings dating back to 1900: https://www.discogs.com/de/Various-Ragtime-Cake-Walks-Military-Bands-Ragtime-Orchestras-Coon-Contests-Blues-And-Jazz-Volume-2-1/release/6295213

Not counting the Really The Blues? Vol. 1 CD set by Allen Lowe (too obvious), it's this: An original 78 of this one (Orchestre Tzigane du Volney - sous la direction de Maestro Lensen, Paris, on French HMV GC30728, recorded in 1912):

You are providing a very interesting overview. Let's face it, Mike, seeing how far you are already involved into all the details you'd be the ideal candiate to tackle the compilation of a discography.

Somehow the figures on the cover artwork look familiar from elsewhere ...

Paywall again. Of no use to "furriners" Anyway (and without knowing if the author did include these), I'd nominate Mary Osborne Terry Pollard Jutta Hipp Billie Rogers Kathleen Stobart

Regarding the books you mentioned, how would you rate (by comparison, maybe) the following books as INTRODUCTORY books on the subject of Afro-Cuban music? - Latin Jazz - The Perfect Combination, by Raúl Fernández (Chronicle Books) - Cubano Be Cubano Bop - One hundred years of Jazz in Cuba, by Leanardo Acosta (Smithsonian Books)

Isn't it Candido CamEro (but CHEVY Camaro )? Anyway - happy birthday!

Same here. Mail sent.

The Discogs entry seems to have the answer: Old Town was the distributor for this record, i.e. (probably) for the Barry label. So whoever entered the label credits on Spotify got it all wrong. But your topic title did have me puzzled (like everyone else, I guess): Had I missed some discographical detail? What was Prez doing among Bob Gaddy, Hal Paige and all the bluesmen on Old Town?

Second (third?) the recommendations above. Apart from the Chronological Classics series and the Mosaic the Jimmie Lunceford orchestra recordings, in particular, have not really been reissued in comprehensive form. As I still am primarily a vinyl man I went that way before the CC series was around and carried on later on, snapping up whatever I found to fill the gaps. In addition to older reissues on German Brunswick (The Golden Swing Years Vol. 8) and UK Coral (Jazz Heritage Series No. 5) the later French/U.S. "Jazz Heritage" series LPs as well as the "Big Band Bounce & Boogie" series LPs on (UK) Affinity give a fairly good summary of the Decca sides by the LUnceford band. Of course you end up with a fair share of duplicates. The Vocalion sides of 1939 were on (UK) CBS Realm Jazz 52567, for example. And then there were a couple of "collector's" reissues that semed to be geared specifically to fil the gaps left by the usual (Major) suspects: "Takin' Off with Jimmie" (Tax m-8003) and "1939-1940" (Two Flats Disc TFD 5.001). Ther latter reissue as well as a Chronological Classics CD I picked up to fill more gaps, however, made me realize that you do not really need everything by the Lunceford band unless you are an inveterate completist: The Dan Grissom vocals really are very much an acquired taste and his singing style IMHO has dated badly (some of the Andy Kirk band ballad vocals are a similar case). And the arrangements aren't always much to write home about either, with that rickety-tick rhythm going on behind some of the Grissom vocals, as if to ape the sweeter sweet bands of the day. So if you are fine with the classic swinging instrumentals and the vocals by Trummy Young and Joe Thomas and do not need everything that can save you some purchases and a bit of an ear-ache.

Considering what many of you are hinting at here with your wives I realize (again) how lucky I am with mine. I am having pretty much free rein in my collecting fields - as long as things don't spill over everywhere. Which in fact is the point I have reached some time ago for both records/CDs and old paper (i.e. shelves and boxes more or less full and NOT YET overflowing) so I am restraining myself anyway and have reduced buying new items (though I would not mind adding a batch of MUCH older Downbeats to my "archives", for example). Good luck and congrats to the taker of this offer ...

Not to be confused: The "Jazz Lab" LPs by John Grass were one thing, but the "Jazz Lab" (Vol. 12) cover shown by Jazzcorner comes from what JSngry described as a "mess" (which it was not - just a reissue series by GERMAN MCA from the 70s with nondescript generic covers and a selection of titles that is as good or bad as thousand other reissue programs that happened through the decades). It reissued some 20 LPs from the Decca/Coral/Brunswick catalog of the 50s (including an "odd date out" by Kenny Burrell from the 60s) and served a purpose insofar as it brought back material that in some cases had not been reisseud before by that time (and some of it AFAIK has not been re-reissued since).

Just out of curiosiity: If you like Feldman's percussive approach to the piano, how would you rate/compare it to the percussive approach of Eddie Costa? I may not have listened closely enough yet to whatever Feldman recordings I have but I tend to associate "percussive" and "piano" with Eddie Costa first of all.

Yes ... strange ...before accessing the thread I was unsure between Booker T and Booker Little but did not think of Booker Ervin either.

Snip? You're talking about CROPPING a picture? Is that it?

Bought it minus cover at a fleamarket for a token sum about 20 years ago and I think I never pulled it out again after a first listen. This thread prompts me to remedy that ...

Great and underrated LP, BTW. You tend to overlook it because it appears to be a haphazard compilationn of odds and ends but it does make for interesting listening. (GIven the "vibe" of the music on the LP i can see why TTK went for that music). The LP isn't all that rare once you take note of it. Actually I have a second copy of "Primpin" sitting in my "duplicates for fleamarket" crate (bought without remembering i already had it -. both are Dutch CBS pressings)

I've heard a story like you described from a friend too (a case of allegedly faulty goods with they definitely were not) and your caveats are all appropriate. But - in all fairness it needs to be said that for many, many years the pendulum swung heavily in favor of the SELLERS, with Paypal just shrugging and leaving the buyers to work it all out for themselves, claiming that Paypal was just an intermediary platform for transferring the funds and nothing more. It only changed when buyer caveats vs Paypal became that widespread that Paypal saw their entire business model in danger. And things HAVE swung backwards in other ways too because many sellers now only ship by certified mail, which inflates the shipping costs too. This is understandable (to avoid claims of alleged no-show items) but no doubt this hurts their business too if they are being honest to themselves. The problem in "our" field unfortunately is that grading is such a can of worms that it is very hard to please everyone every time equally at both ends. And let's be honest there too - overall the unscrupulousness about grading did not originate at the buyers' end.

I've been pondering this matter for some time (with some 7,500 LPs and a 4-digit number each for CDs, 45s and 78s some action os overdue - mistake duplicate buys 'n all). However, I'd prefer to keep the setup strictly on my PC and am hesitant about Discogs et al. What I'd need and want is relatively basic, i.e. artist (leader), LP title (or tune titles, see below), and catalog no. (plus another field for the original release,maybe), recording date/period, plus track listings for records originally issued on LP (the titles might all go underneath each other for each record in one column of the table and would not necessarily have to be sortable), plus one or two "wildcard" or "Notes" columns where I can enter equivalent issues/reissues (it has too often happened to me that I have bought an LP and then found out I already had all the tracks on a single or double LP - even in the same order - but with totally different cover artwork, different label and number, different (re)issue country, etc.). One particular aspect is that I have TONS of reissues from the pre-LP era and in these cases would not so much be interested in LP titles but in the artist, song titles, original issues, recording dates and a Notes field to reference the reissue(s) I have the tracks on. So pure listings of LPs (such as the two recent examples above) are of minor use to me and would only be relevant for those recordings that were FIRST issued on LP. Anything else would have to be sorted by artist and tune title, not by artist and LP title. I am not so much interested in being able to check I have this or that compilation reissue LP but in checking if and where I have the individual tracks on any LP or CD. I.e. Count Basie's Roulette LPs would go under their LP title (insofar as what I have are more or less the original couplings) but his Decca, Columbia and RCA recordings would go under the tune title and recording dates. The LP title and cat. no. are of secondary importance for that latter kind of recordings. I must add that I HATE Excel. I have to use it regularly in my job and find it extremely inconvenient (compared to a Word table) if I have to start the table from scratch. I am currently working with a Word file to record and catalog data of roughly comparable complexity in my other hobby. The file consists of tables with 11 columns in all and can of course be sorted by any of these 11 columns. Which is all I can imagine I ever need. It has some 500-600 entries by now and for MY needs is dead easy to handle and sort in all directions. So I wonder about adapting a similar WORD-based setup for my records "database". I know all this sounds "old fashioned" to some around here but any suggestions on how to proceed further on THIS basis?

The bank is the intermediary. You send money from YOUR bank account to the bank account of the recipient.

If the LP had a "neutral" promo cover of the type I described it may just have gotten thrown away. It cannot have looked like a keeper to anyone. What puzzles me more is that the BN LP on eBay does not have any indication of being a promo. How did BN promo LPs from that period usually look? BTW, I noticed the "r" runing off the label too (it's like that on my Orgy in Rhythm LPs too).

DD, sems like you haven't come across any American yet who more or less accused you of robbery, larceny and mugging in one generalizing swipe as soon as you asked him/her to provide you with their bank account details so you can send them a bank transfer of the kind you correctly described. It's been a couple of years when this happend to me more than once on US eBay. They must have thought I wanted to rob them of all their worldly goods by merely SUGGESTING that they'd give me their bank account number so I can SEND them the money due (bank fees borne by me, BTW). (Actually I did send international bank transfers occasionally in the 80s and early 90s to the US and to Australia when there was no such thing as Paypal and no fee-less IBAN yet either - and it worked, though the bank fees were to be reckoned with, but US eBayers in the 2000s often just balked) (No, and now don't ask me about what all this old-fashioned cashiers' check vs personal check matter is all about. Checks have largely been a thing of the past for some 25 years over here by now). BTW, I do find Paypal convenient too. In my early eBaying days in the early 2000s I even used the Western-Union-related Bidpay system occasionally (as some US eBay sellers insisted on THAT, probably because they'd be given a CHECK for the amount due and wouldn't have to fuss with bank account transfers ) and it always worked fine, Though I later on came to learn that Western Union transfers CAN be a scam.

This also might be an explanation for the missing cover (though this is a wild guess and I do not have any definite proof). Back in those days it seems to have been customary in Germany to issue promo copies (e.g. to radio stations or wherever ..) without the actual covers but in neutral, white covers. During my fleamarket rounds through the years I bought a couple of late 50s 10" jazz LPs as German promo pressings (on the Mercury and Odeon labels - Odeon being German Columbia) that came in recycled white covers (and I have seen quite a handful more of these white-cover promos that were of no interest to me). Looking inside the covers you can see the front cover of the actual LP cover that they had just turned inside out and recycled for these promos, with a center hole punched in the cover to show the label. OTOH these LPS do have white promo labels - which is not the case of that BN LP.

On the German Liberty pressing of "Orgy in Rhythm" that I have the "Made in Germany" stamp also is a lot deeper than the "RVG STEREO" stamp (in fact the "STEREO" is just barely legible).

I am no expert at all on the finer points of the various pressings of BN LPs (a science unto itself, isn't it? ) but I did a quick comparison anyway. I have the two Art Blakey "Orgy in Rhythm" LPs as German Liberty stereo pressings inside a US LIberty jacket (combinations that seem to be not so rare, i.e. using up jackets form one source for vinyl from another). If this is a boot of fake then whoever reproduced the label did so with extreme diligence as the fonts and even the minor grammar errors of the copyright statement round the edges of the genuine German label were duplicated very acurately. I cannot judge the colors as the digital photos might falsify these anyway. And the catalog numbers are pen-engraved in the dead wax of my LPs too. However - the RVG in the dead wax of my copies does not read "VAN GELDER" but "RVG STEREO". Have both texts been documented for real by the experts?