Dub Modal

Back to Andrew Hill BNs, starting with:

Ah, I figured maybe he'd demonstrated a perspective like this before but I haven't read any of his book(s). The interviewer absolutely honed in on those comments.

Yeah, sure is. I know he's won several awards but does anyone know if he's ever performed on behalf of the State Dept or something similar?

Finishing off my JP listening session with this one from '64 Some real drone-y bass lines here from Patton which was cool to hear. The guy was incredible.

Let Em Roll. I guess you could say I'm a JP fan. Interesting setting for Hutch:

I dont know, the Braxton in my post was from a quote from another board member... Patton train rolling along this AM. Want to hear Grant Green comp?

Looks like they're ultimately owned by Concord Bicycle Music now (as of '19). It gets confusing in terms of who owns/operates that entity. But as of now, Concord Records - as subsidiary of Concord Bicycle - owns 100% of Fania, Fantasy, Razor & Tie, Rounder & Sugar Hill, Savoy, Tams-Witmark, Telarc, Varese Sarabande, Victory, Wind Up, & Musart among others. If anyone can make heads or tails of Concord Bicycle, have at it. It looks to me as if Concord Music might be used as an investment shell by Concord Bicycle. I say that b/c Concord Music went in with a bunch of other companies to invest in Quiyer, Inc. That appears to be some social media platform. If you read between the lines here, reissuing the back catalog isn't likely on anyone's mind at any of these companies. " Concord Music Group, Inc. engages in the development, management, and acquisition of sound recordings, music publishing, and theatrical performance rights. The company offers music labels, including Concord Records, Fantasy Records, Fearless Records, Loma Vista Recordings, and Rounder Records, records music. It also manages KIDZ BOP label and licensing activities. Concord Music Group, Inc. was formerly known as Concord Records, Inc. and changed its name to Concord Music Group, Inc. in December 2004. The company was founded in 1969 and is based in Los Angeles, California. It has additional offices in Beverly Hills, California; Nashville, Tennessee; New York, New York; Cleveland, Ohio; London, United Kingdom; and Berlin, Germany. Concord Music Group, Inc. operates as a subsidiary of Concord Bicycle Music. "

Next up is Patton's Boogaloo With Sunshine Man Harold Alexander, George Brown, Pablo Landrum & Vincent McEwan.

Actually going by the full "Braithwaite" on the cover. Side question is that I'm wondering if he was related to Junior Braithwaite of early Wailers fame? And actually, I think Braith might be playing his Braithophone! It's a Stritch & soprano mended together. Wild wild stuff.

Actually, I'm now noticing that Braith is playing a Stritch. At first it sounded like the sax was distant, then almost kazoo-ish. Now that I know it's a Stritch I take back my bad SQ comment. This is a damn good album. I wonder if there were second thoughts about how the Stritch sounded on the recording, but not the overall recording.

Moving on to more Patton, this time Blue John. Per Discogs there was only an original test pressing of this LP on plastylite(!) then absolutely nothing until the 1986 DMM LP and cassette(!!!). Later on came CDs. Wild. They must not have thought much about this album. Now that I'm listening to it maybe it had to do with subpar sonics from the session? Or is that just my CD version of this?

I was noticing a little more cohesion between him and Ulmer. Green and Patton seem to get competitive at times on their albums together.

Have only heard a song or two via links shared somewhere on these boards. It was his version of Rainy Night in Georgia that I really dug.

Mort Garson was a talented guy. I've got a couple of his albums. Going to reach for one before the weekend's out. Meanwhile, playing some John Patton. First up, Accent on the Blues With Blood Ulmer & Marvin Cabell - great, great album. Up next and now:

Big 3 = entertainment cartel. Wonderful.

10% ownership can be considered "significant"

Not sure. If you take the asset as a whole, then it naturally depreciates. Pieces of that whole could have periodic surges in value, but would they actually slow that depreciation or increase the overall value of the entire asset? I'm betting it would just slow depreciation overall, but that can be gamed as well. I'm still thinking they would counter any gains made on licensing pieces of that whole with the tax shelter provided by the overall depreciation. Those strategies can be intricate. I'm thinking there's immense value in licensing a certain percentage of that catalog, but not for reissues so much as advertising. Since there's a complete void of soul in a SPAC, they're not going to care which widget is going to win a gain, just that there's a gain to be had. What little I know about the Concord deal seems to be that they just use that asset deprecation as a tax shelter and that's all they want to do. This may be different, and likely will be, due to the aggressive profit motives of PE and SPAC entities.

Interesting Gioia piece. Looks like he has an MBA per one of the commenters. I didn't see where he talked about the tax benefits of declining assets, but that's a consideration of these deals and why they would hold them on the books. The current trend among PE firms was actually longer holds, but SPACs are different - just investment shells. So short term gains based on certain parts of that Universal catalog (licensing, etc.) could be countered by the tax shelter a declining asset gives them. Such a game.

I'm interested in buying if still available. Sending a pm

Cheers for the new website and the OOP discography section growing with info. That's going to be really nice if/when finished.

SPACs are completely soulless.

Agreed. I need to check this one out.

Disc 3. Super funk.