Big Beat Steve

Might this be him?? No, it's not. Google "Zero Freitas", everyone. Makes us all realize that whatever we have accumulated our collections are just small fry and we are all perfectly sane and restrained to a maximum.

I think the eyewitness accounts of all that would fill a book or a lengthy thread.

Don't worry ... "Kartoffelpüree" is perfectly understandable even in Germany. Same for "Möhren" & "Karotten" (both understandable too, but in fact down here in the South we call them "Gelberüben"). But "Paradeiser"??? Or "Zibeben"?? And as for "Spritzer", I was under the impression you call them "G'spritzter"? Like UK and US English: Two countries divided by the same language.

Mashed, i guess?

I remember from my contacts with U.S: soldiers on post here in the mid-80s there was one Master Sergeant whose tour of duty in Germany was about to end in a couple months time and he regretfully told me he had decided to stop drinking German beer ("Löwenbräu" - the GERMAN variety - was one he loved in particular) for his remaining time here because otherwise he'd be unable to adjust back to what he'd be served back home in the U.S. (and he pointed out that German "Löwenbräu" and U.S. "Lowenbrau" had nothing much in common except the name). I understand things have changed since but still ...

That's it, Priceminister is the name under which it is still known there. Sorry I can't priovide the info you specifically want as whatever I had heard about sales on this site came from various contacts in France who bought there and always were quite satisfied. But that won't tell you much as these were domestic transactions. I've checked the site here and there for reference through the years and find that the range of prices for a given object often is ENORMOUS. Some offers are very good, other prices are just KRRRAZY.

Do we know what's outside the picture? Unfortunately the picture that came up online was as small as you see it here so you cannot make out much. Does anyone have any idea of the size of the collection of Chris Albertson? His memorabilis alone must be mindblowing. Hope it all finds a good new home/caretaker. As indicated by himself in his "Bulletins", the collection of Hugues Panassié amounted to some 20,000 records (no details on the 78s-to-vinyl ratio, though). After his death in 1974 it was preserved intact and not dispersed and was later (probably after the death of Madeleine Gautier) donated to a municipal library near his home town. Some use seems to be made of it (including access for researchers) AFAIK but even under these ideal "inheritance" circumstances it had remained inaccessible for quite a few years after it was passed on to the municipality (to the dismay of the Hot Club). The collection of researcher and author Johnny Simmen from Switzerland was also donated to a jazz foundation (in Switzerland) and therefore preserved as a unit.

Rakuten crops up in the www address of the PRICEMINISTER selling platform. Is that what you are referring to?

Like I thought ... yours IS huge ...

I'd rather think it is a "mutual self-help group" thing to find comfort in the fact that others ARE more obsessed than yourself or to find out what forms the details of this obsession can take. BTW, if Scott Yanow's collection is only triple the size of yours, then your collection must be awfully enormous too.

A friend (waaaay more FB-obsessed than I had imagined, though I ought to have known) on his first-time visit to my place took a pic of the vinyl wall in my music room (he's a collector himself, though on a smaller scale) and POW, there it was up on his FB page. Needless to say, the immediate comments of his frineds were "What? Who? Where??" So I had to admonish him to take iz easy from then on. But your idea of using the replies here to convince your wife of whatever you feel necessary to convince her of is VERY laudable (I guess most of those around here will sympathize with you). I used the photos shown here ... https://thevinylfactory.com/features/crate-diggers-interview-mats-gustafsson/ to make that point with MY wife. And if that doesn't help with yours too, how about this?

Decidedly Tineye worked better in this case than images.google did. Thanks, Brad (and Sonnymax too). I just tried Tineye on some other photographs (that I had wondered where the poster had dug those up) and obtained quite instructive results. So it is now bookmarked.

I found Bertrand's question to be quite innocent and appropriate. Wonder who's condescending here. To further the knowledge of Bertand and me (and whoever else who'd been wondering ), maybe Kevin Bresnahan would like to chime in once more to tell how HE did the reverse image search to end up NOT on that Japanese picture gallery site but on IMDB (unless he had already had a clue this must have come from that particular flick).

Bertrand isn't the only one who would not have known this instinctively (yes I admit as much ...) so there is no reason to be so smart-aleckish about such a simple and honest question, erwbol (thanks, Brad, for your reply, BTW) You must be typing awfully slow ... FWIW, I did follow Brad's hint but still this isn't that straightforward. I did copy the URL on images.google.com (using the procedure described here for a PC: ) https://uk.pcmag.com/how-to/71657/how-to-do-a-reverse-image-search-from-your-phone and sure enough the very same photo came up on some Japanese site but sort of difficult to decipher and will lead you only to another photo gallery, hence a dead end. Not THAT fast ...

Going on in more than the occasional discussion here already ... How many "name" musicians have I rubbed elbows with after-hours? How many festivals have I attended (festivals abroad counting double)? What unreleased tapes inaccessible to common mortals among jazz listeners have I laid my grimy hands on? With how many musicians/bands have I achieved my completist goal of their recorded opus? Who has visited the farthest away B&M record shop in search of that elusive item? On how many live gigs have I ruined everybody else's view of the stage because I have jumped about and around and across the stage firing away with my camera? (and so on and so on ...)

Misc. Music?

Don't give up - try another 16 ... Or to put it more directly, I am unimpressed by an AI "machine" dissecting and reconstructing a Coltranesque cascade of "free" notes into something just as free. I will be impressed if that "machine" turns out something NEW (i.e. not a replay of something existing) that would fool Ellingtonites (for example) in a BFT. Just my personal opinion.

Care to elaborate? Why would you want to "sigh" there too? What WOULD be at stake by issuing sessions like this in the first place? Like hgweber rightly said, it would no longer be a matter of reputations - for several reasons that no doubt you in your position are fully aware of: 1) Just look at how many sessions have been issued AND reissued through the years that do not exactly rank among the top-notch recorded output of an artist and YET they are appreciated by many. 2) There are tons of fans of any artist and/or style of music (jazz, in this case) who'd swallow ANY utterance by their favorite artist. So this IS a matter of fandom and at the VERY least most of those fans would go to any lengths to focus above all on the positive aspects of these sessions and find something more than worthwhile in them, particularly maybe in the case of Grant Green where the dispute rages anyway about what and from what point onwards was to be considered of mainly "commercial" and not exactly artistic appeal, so no doubt there'd be many who'd appreciate another "new" "not yet commercial" all-out jazz recording regardless of what flaws it might have had. 3) Even if the music is below the "usual" standards of an artist's typical output I'd guess there'd be more than enough buyers/listeners who a) would either approach these recordings from an "academic" POV (or so they claim) to observe and analyze this as a sort of "work in progress". An entire session that did not turn out "right" (according to some - not all, as this dicussion shows) is not fundamentally different from fluffed, goofed or aborted alternate takes that DID see release anyway (to the delight of many) even though they never were considered "alternate" but rather "rejected" takes at the time; or b) would be curious enough (though I would NOT call it voyeurism) to want to explore even the weaker or more unstable phases of an artist's recorded career in an attempt of obtaining completeness or peering into those sides of the lives of the artists as expressed at a moment of their weaker or less inspired recordings. Precedents abound on what was issued in this manner on other artists before. Who has the final objective (!!) word (not just the clout to nix a release) on what is favorable to an artist's recorded legacy or not? If THAT was any yardstick, how much of what Lester Young or Coleman Hawkins or Bud Powell recorded (to name just three) in the rock-bottom phases or twilight of their careers should never have been released at all? And YET many drool about these sessions for a variety of reasons. Maybe even some of those who'd cry out "heresy" if those Blakey or Green sessions were released in due form? So it would NOT be a matter of "why more of the same (imperfect) stuff" either but rather a matter of letting everyone find those aspects of interest in there that they DO want to find there.

Totally true, parciularly since there are quite a few tunes that he recorded more than once. You would really have to work with an up-to-date discography or previous reissue packages to identify which is which and see where you are with what you have or don't have (and use the SEQUENCE of the tracks used in previous reissues for orientation). In short, an original release label and no. would have been MUCH more significant to the prospective buyer than the songwriters' credits.

DADABOTS says it (almost) all ... Interesting experiment, but I will be impressed if they listen to a major Duke Ellington or Louis Armstrong or Count Basie etc. recording 16 times in a row and go on in a meaningful way from THERE that truly SWINGS and doesn't just replicate like a mechanical piano does ...

Just re-read the above press blurb again, the transcription reference must have been well hidden. As for the "additional" 80 tracks, the 20 or so Deccas have been around often enough too, so the recordings for the indies in a comprehensive reissue seem to be the major point of attraction. And of course the fact that "those who thus desire" can get it all in one place. For the occasion, going to spin the "Nat King cole meets the Master Saxes" Spotlite SPJ136 LP now.

I am no early NKC discography expert but I find the info by Resonance a bit vague on what exactly in what QUANTITIES came from which labels. or to put it another way - if the early years up to 1943 are covered, will this include the transcriptions too? Of which there were MANY, and they have been out and around in variuos guises over time (the 6 CDs on Naxos alone include 120 tracks up to 1943 (mostly for the Standard Transcription Service, but also for Davis & Schwegler and Keystone).

Don't know to which names you are alluding specificaly but you got to remember too that that all times there were musicians who were stars in their day but once they had passed their zenith they were forgotten more quickly than others who may still have been household names decades later. The reasons aren't always easy to pin down and aren't always the same but one factor that IMO definitely plays a role is that critics may have held a musician in high regard who may never have been as famous or popular with the listeners/record buyers/audience at large (who in turn tend to forget faster once they discover other stars). So if the audience no longer is with you and the critics never held you in the highest esteem your fate is sealed ... So don't let latter-day perception skew your perspective ... What we remember (or are told to remember) today about a specific era of the past is not necessarily how it happened back then. The emphasis may have been quite different at the time.

Somehow Wynton looks awfully like Steve Urkel on that photo ...

Too late. Them beans bin spilled ...