Big Beat Steve

You mean those who did emigrate ("go expat") and returned home later on? Red Mitchell (one who hasn't been named among the expats yet either, BTW). Bobby Burgess Rolf Ericson Inez Cavanaugh

Re- my earlier post, i was just referring to what the thread starter explicitly said ...

Many have been named but are all these AMERICANS who decided to live in EUROPE (as asked in the opening thread)? Sir Charles Thompson?? ... Some more who who DID move to Europe: Bobby Burgess Rhoda Scott Nancy Holloway (OK, she's on the fringe of jazz, but still ...) And here's one who went BOTH ways: Rolf Ericson

I had first heard of her when I got myself a copy of the "Gal With a Horn" album a good 15 years ago in my quest to get the entire MODE LP series complete (minus 1 or 2 MOR-ish vocals album that I skipped). DB gave it 3 stars at the time but for all her talent on trumpet that would enable her "to hold her own" in many settings found her voice had "considerable intonation difficulties". It wasn't until several years later that I became aware of her later documentary acitivites when I bought the Central Avenue Sounds book. RIP

A superb period piece. BTW, weren't there TWO "Zildjian" companies? No, not Sabian - long before that. I somehow remember ads to this effect in jazz magazines from the 50s.

Tumblr! Oath! Illegible and inaccessible from Europe (or elsewhere?) unless you consent to cookies, log in with an "account" (what account?). And all this with the clear intention to spam the reader with (clearly unwanted) ads and "personalized" popups'n stuff, including from "partners " (what partners?). Neither useful nor customer-friendly.

Assuming that the buyer of your house won't want to just tear it down and build something new on that site and regardless of what blueprint you want to frame as a keepsake, I guess that the buyers will be very keen to get all the construction paperwork, blueprints, etc. for that house. This will no doubt come in handy whenever they have refurbishing work done on it. So maybe get them a duplicate of what you want to keep (unless what you are keeping are duplicates anyway). I know I am glad I still have most of that for my own house (which my father - an architect too - designed and built in 1957). It came in handy to be able to give the contractors some plans for preparation when I had extensive work (including updated insulation) done on the roof several years ago.

Like you found out online ... Which shop did you visit? A smallish semi-basement shop in a row of older brownstones or one with a fairly large glass-pane front where the entrance was a few stairs up? He moved to the latter one in the late 90s. We may have bumped into each other unknowingly in either of the two. I left a lot of money there ... Vinyl West closed down at the later location described above in 2003 or so. Tom briefly reopened a smaller shop around the corner 1-2 years later but this was gone again before I had a chance of going there. He then concentrated on online sales (including eBay) and mail order and later moved on to Spain after some non-business related matters made him pull up stakes here, it seems. Your VfB avatar has always had me thinking you had some connections there but during which period exactly did you live over here?

Actually this one was made by an acquaintance of my office colleague (she was given a couple because she had donated a handful of unwanted LPs as "raw material" ). So it's a strictly homemade affair. But the principle must be known. The girl in Vienna who makes the handbags as shown in the other photograph also has a few bowls in this style among her range of products.

Handcrafted in Vienna, BTW.

You don't have a local music club that uses LPs for its wll decoration and accepts donations of raw material? Or how about this? (along the lines of the Italian "fazzoletti" glassware) Or this (for your better half)?

As I am not into classical music I have not had a close look at what I saw in the bins at clearout sales. At the clearout days we have here at regular intervals at a local used record store all the records (thousands each time) are totally unsorted but I routinely browse through the 10" records first whenever I see any in a bin (they usually end up in stacks among the 12"). I do remember distinctly that while browsing I regularly saw Eastern European pressings there (Czech und Hungarian, i.e. Supraphon and Hungaroton, in many cases), hoping it was an occasional "Eurojazz" find. But alas no, it turned out to be "another" classical music 10-incher in 99% of the cases. However, I realize that there may be differences in "desirability" even among these, and as for what EXACTLY was in there - search me ... All I remember was that some of those classical or light classical music 10-inchers (not just Eastern European ones) had rather nice period cover artwork. But I won't get carried away that far (covers by Jim Flora would be an exception but so far I have never seen any by him there).

Yes, they put more artwork and marketing effort into classical music records over there in Czechoslovakia (jazz records often had generic covers before things changed later in the 60s). Yet these classical music records often are almost a dime a dozen here when you find them in clearout bins. Whereas ... the one below in NM condition was a scoop at the equivalent of $1 (though quite some time ago). Eurojazz auction buyers from outside Europe (over in Asia, in particular) have been know to bid crrrraaaazy prices on such items.

Yes, Hep is always worth checking out. And "at the time" (for those not dead set on CD) the one below ("featuring seventeen clasic Gil Evans arrangements") used to be a go-to item: https://www.discogs.com/Claude-Thornhill-Tapestries/release/11401907 Just to show what tracks you'd want to go after if you are in it for Gil Evans only and want them all in one place.

I'll keep my fingers crossed for you that you will be able to strike a deal with Chuck. Any collector who backs up his interests (music/listening interest here) with the documents and reference works on the same subject matter will gain a lot in knowledge, insight and enjoyment. And I'd venture a guess in today's world where everything (including knowledge and documents of times past) is digitized it is a good thing there still are some private "archivists" out there who keep the real thing. Though I understand the space problems ... In fact, as a private collector-turned-archivist you sometimes and unknowingly even surpass what you think pros in the field ought to have accumulated themselves. About 7 years ago I jumped at the occasion of buying from an online antique book trader what was described as a full run of METRONOME from mid-1952 to mid-1960 and came from the archives of the former editor-in-chief of the German JAZZ PODIUM magazine. Only ... upon receipt it turned out to be two bound volumes of scattered issues that this journalist had accumulated - about 45 copies in all, which of course is a long way from a "full run" (and an odd base for binding the copies) and made this a very expensive deal. (The seller made good - to a point - in giving me additonal items from that collection free of charge, though). Still an interesting purchase, considering the silly prices that sellers ask on eBay, but amazing to see that even long-standing pros should be content with individual issues - no doubt this person would not have had any trouble in obtaining a subscription or even courtesy copies, even at that time. Anyway ... I'll hope someone else takes the remaining issues too. It would be a shame to throw them away.

Sadly, that photograph is so tiniest of tiny (at least the way it displays here) that that lady could be just anybody ...

Sorry but this is utter nonsense. And the statement by jazzmusicdepot that "Europe" "have holiday for the entire month of August" is just BS too. Of course summer holiday periods are in SUMMER (as the name implies) and at least over here some things may slow down (because employees ARE on leave but NEVER all of them at the same time and virtually NO family can take time off from work for the whole duration of school holidays or even afford to do so - far from it, or else I, for example, would not be here where I am right now - and everyday peak hour traffic would not be what it is even during "holidays")! People do quip that in France, for example, where nationwide holidays are condensed into a shorter time frame, the entire country runs at idle during July and August. But even THAT is exaggerated. So PLEASE don't generalize. You wouldn't want to have that done with the US either. BTW, as for getting hold of business partners overseas in a timely manner, I can tell you that this is a door that swing BOTH ways too. US "partners" have been known to be deadbeats too.

Malibu Beach, ca. August 1951. Jepsen, Bruyninckx, and Discogs list about 10 different labels that this was released on (all of them budget except a Vogue/Mode release). My pressing is on Spinorama. He must have seen those before that I had him sign in 1988, though: 78rpm on HMV (from his RCA small group sessions), "Steppin' Out 1942-44" (MCA Jazz Heritage Series) and Gene Norman concert 1947 on MCA, plus one (perfectly legit one) that he may in fact not have seen before: a 50s 10-incher on German Philips (1954 concert recordings).

+1

Maybe one way to get things moving HERE would be to give us forumists an idea of what styles of jazz/labels/artists/recording periods you are PREDOMINANTLY getting rid of. Not an exhaustive list but just stating where the focus/focuses is/are.

I can think of at least one Lionel Hampton west coast concert recording of the early 50s that DID crop up on numerous budget labels. Not with different artist credits but with fancy reshuffling and renaming of part of the titles. Not any less confusing overall. But so what about criteria like this - Freddie Mitchell's recordings had second lives under other "artist's" names (AND different titles) elsewhere on budget labels too, so what you noticed with this percussion release looks to me like it was just another case of the "wider" marketing policies at work with these budget labels.

About this specific recording - no. But weren't there a LOT of recordings that made the rounds of whatever budget labels there were in the US in the 50s? So is this label-hopping a specificity of this particular percussion session? I doubt it.

I don't think so (thankfully - because as you say a lot of Vogue material has been "around"). I have only about 25 of the CDs from this series (concentrating on French artists and recordings that I did not yet have - to fill gaps ) but as far as I can see these reissues mostly came from Barclay (often!), Versailles, Philips, Polydor, Vega, Blue Star, CfD, Fontana. So as you can see most of these labels were far from small (at least by French/European standards). Incidentally, wonder who's got the rights to the Ducretet-Thomson label - another major player in French 50s jazz - (disregarding that those from the key period are in the public domain now anyway).

Which is very laudable and has got me, for example, taking note of various of the mid-century modern bachelor pad musics (to explore them a bit more one day maybe). As for Vogue, discussing things that may otherwise fall through the cracks of the obvious and predictable is always a good idea and I am all with you - and in the case of the first box set this was one of the aspects that got me to buy it as an impulse buy (realizing I have a lot of it already but being disappointed that I already have THAT much in fact, after checking my "black cover" CDs). The second one, however, still has me puzzled. Considering what's on there this is not a case of "falling through the cracks" (except if you assume these cracks to be a mile wide). But like jazzbo said when he mentioned the "target groups" .... I for one - on first seeing the"American" theme - would have guessed they had seen fit to reissue a LOT more of "Americans in France" (recording for Vogue in concert or in the studio). There would have been lots of items that did not make it to the first box set ... Or Americans recorded in the USA for Vogue/Swing (by Henri Renaud, etc.)

Well,i was just going by what part of your collection you seem to mention most often here.