Kevin Bresnahan

The new reissue is the same as the double CD. Just a different cover. The track order is the same for disc 1, shuffled a bit for disc 2: CD1 1. A Light Reprieve 2. Buzzard Lope 3. Blue Monday 4. Zonky 5. Later For The Rock 6. Sweet And Lovely 7. Dear John 8. Blue Friday 9. Everything Happens To Me [Short Version] 10. Mardi Gras 11. What A Difference A Day Makes 12. For All We Know 13. Ill Wind CD2 1. If I Could Be With You (One Hour Tonight) 2. I've Got The World On A String 3. Me 'N Mabe 4. Everything Happens To Me [Long Version] 5. How Long Has This Been Going On 6. With A Song In My Heart 7. Imagination 8. What Is There To Say? 9. There Is No Greater Love 10. All Of Me 11. Intermezzo 12. But Not For Me 13. All The Way

I've been waiting for this compilation to be released again so that Blue Note could finally rectify the missing last two tracks from these sessions ("Cry Me A River" & "Uptght"), which have only been released on a rare Japanese CD titled, "From Hackensack to Englewood Cliffs". Michael Cuscuna once told me that they missed those two tracks when he did the Mosaic box in 1987 and again when they re-did it for the Connoisseur 2CD release in 2005 but that he would try to get them out in the future. Looks like they missed them again. To be honest, I think the 2005 2-CD Connoisseur set was supposed to have these two tracks but someone screwed up during the mastering process and no one pulled that master.

It's very good. I picked it up the minute I saw Ammons' name on it. I got the 1993 Vee Jay CD with bonus tracks.

Blue Note released several LPs from that concert (Bobby Hutcherson, Bobbi Humphrey, Marlena Shaw & Ronnie Foster), so they more than made up for any recording costs. The fact that Byrd's performance was the only one not released at the time speaks to the label listening to the artists even back then. It's not like them keeping it in the can was good for Byrd's wallet. Here's what Michael Cuscuna said to me about this when someone on the Steve Hoffman forums questioned why he didn't release it himself: MC: Reality check: This was the only Montreux performance from that Blue Note night on July 5, 1973 to remain unissued in all territories. I asked Donald why and he said that like other live recordings he tried in the States, the results never reached the level of production and perfection that the original studio tracks did. He said it wasn’t successful and did not want it out. In those days, getting studio time to mix down multi track tapes – especially on speculation – was rarely approved. Fast forward to Don Was’s era as Blue Note president. From his vantage point, there isn’t much unreleased, but he liked to find whatever he can. The Byrd Montreux tape was a revelation – not as slick or perfect as a Mizell Bros. production, but cookin’ in a great groove nonetheless. So Don released it and we’re all happy about that. Why this is some indictment of me and the assumption is that this album would have sold hundreds of thousands more copies than anything else at that time are fictions that I can’t grasp.

The "Just Coolin'" release is the one that really bugs me too. This session was widely distributed through back channels for years & years... decades even. I don't think I knew of any Blakey fan who didn't have it. I even had someone send Michael Cuscuna his "mastering" take on an CD sequence but Michael wouldn't budge that it was not worthy of being released. Michael often talked to the artists about sessions like this and for all we know, Blakey himself might not have wanted that session released. I know that Donald Byrd specifically did not want those Montreux recordings released, but we see what artists' desires mean to today's Blue Note reissue team.

I like a lot of the stuff Zev has gotten issued. What I don't like about some of the things I've heard about him is that he (or those who know him) calls himself the "Jazz Detective", implying that he discovers these sessions that no one else found and puts them out. This is not always the case. Just because something has only been circulating via bootleg tapes doesn't mean that it was "lost" before he heard it.

Pringles is odd but Boulder Canyon is just weird.

I have a live date recorded in Cortland from around this time and it smokes. The drummer of the session has been telling me for years that he's going to release it officially but it's beginning to look like that isn't happening.

Yeah, but "more people", in this case, is likely going to be the flippers/hoarders. Many of these new Muse LPs will never be opened and will sell from collector to collector in that condition. I'm betting that a lot of these will not be bought for the music.

I stopped buying new expensive vinyl a few years ago. I just can't hear the benefit to them any more. It's gotten to the point where if I have it on CD, and I have a lot of CDs, I usually skip the vinyl version. And to be honest, I've had a lot of problems with these newer LPs. Warps, underfill, cuts too hot for my setup, warbling piano, etc.

I don't think I've heard any of Richard Davis' Muse LPs. I keep meaning to, but never go the extra step of acquiring any. Are they worth shelling out the money? I doubt I'd like "As One" very much.

Supposedly Carmell Jones was heckled before (during?) the show and his playing was adversely affected. Michael Cuscuna gave the masters to Horace so there is a chance that they're out there somewhere. If someone knows Horace's son Gregory, maybe he has them... although I did read somewhere that Gregory may have also passed.

It was a Schlitten.

Ricky Ford has 7 Muse LPs that have never been released on CD ever.

Hopefully they have access to the masters and find some bonus material for this.

Danielle Spencer, typically acknowledged as the first female back child actress, has died at the age of 60. Her breakout role was as Dee in the TV show 'What's Happening!!', which aired from 1976-79 on ABC. She left television to become a veterinarian. Her brother is Jazz trumpeter Jeremy Pelt.

Blue Note doesn't delay the CD. It's also available for pre-order... for $19.98 for a single CD! In this day and age, putting a $20 price tag on a CD is ridiculous. Next they'll complain that no one is buying CDs anymore.

I imagine that AOL's biggest problem with keeping dial-up services going is finding a supplier of the dial-up modem chipsets to replace that aging infrastructure. Companies that made those stopped making them a long time ago. Any stocks of them have to be depleted or deleted by now. On top of that, not many companies make a dial-up modem for today's modern PC architecture, likely due to the same problem. I can see it now... some doomsday Windows 95 user on a 30 year old PC is now upset that he can't log into his alt.talk. newsgroups.

I still think this is really messed up. I see that glasswares and ceramics are on the list of "artworks" that fall under this. So when someone drops this glassware/ceramic and it smashes to bits, is the owner now liable for lost resale value? If a buyer of artworks has a house fire and the works of art are destroyed, will his insurance have to send money to the artists to compensate them for lost resale revenue? If an art buyer purposefully destroys art, can they be sued for loss of income? The list of potential problems goes on & on. And why limit "art" to these things alone? That is the craziest thing here. I see the legal spin revolves around copies made in limited copies. There are a lot of cars that fall into that category. I imagine that someone that owns a super rare Ferrari or Lambo would be a bit upset if they had to pay an extra fee when buying that rare car on the secondary market.

I agree that that is not really a good image of Blakey. That said, check out Oris watch company's "Art Blakey Limited Edition" watch.

I don't think it's much of a stretch to say that Wright's architectural designs venture into the "art" category. If anyone could patent "a look", it's his estate. In my view, whatever court ruled that an artist is due money when their art is re-sold, really screwed up. If it becomes the norm, I could easily see it spreading to other media. And since corporations were ruled to be "people" here in the US, they will go after the money wherever they can. I could easily see a big company going after the used market if this becomes the way of our courts.

So does this mean that Frank Lloyd Wright's family can get royalties whenever one of his buildings is re-sold? That seems to be what's implied here.

I still don't understand how the courts are granting ownership to someone who doesn't own the item. If they can do this for valuable artwork, what's to stop them from doing it with something like real estate? People make millions & millions of dollars on real estate. Are builders going to start getting a cut?

Is that really a thing? How could anyone claim rights to something they don't own? Once I buy something, it's mine, not the previous owner's. If this is a thing, what's to stop record labels from getting money on used sales?