mjzee

MusicStack has 3 pricey copies of the vinyl: http://www.musicstack.com/album/billy+harper/knowledge+of+self I didn't see any CD or digital copies available anywhere. You may have to bite the bullet and transfer the music from the vinyl. Weird that even Harper's website doesn't list this one!

Apparently, Verse is owned by BMG Rights Management. See: https://en.wikipedia.org/wiki/Verse_Music_Group Here's a page on BMG Rights Management: https://en.wikipedia.org/wiki/BMG_Rights_Management This was the company that was formed after BMG's music assets (the former RCA) were sold to Sony. According to this page, "In April 2016, BMG signed a distribution deal with Warner Music Group, which will cover most of BMG's catalogue and future releases; though a few albums will remain distributed by other labels." As for Toshiba-EMI, perhaps that was the distribution deal BMG had at the time in Japan.

TMG: See the Wikipedia entry on Bethlehem Records. From the entry (full entry see here): In 1958, Bethlehem began a distributing deal with King Records. In 1962, it was sold and absorbed by King.[2] After Syd Nathan's death in 1968, King was acquired by Starday Records and relaunched as Starday and King Records. It was acquired in 1970 by Lin Broadcasting and in 1972 by Tennessee Recording & Publishing, until it ended up with the acquisition by Gusto Records in 1974. At that time, Bethlehem was purchased by the Cayre brothers' Salsoul Records, who initially intended to release its back catalog for inexpensive 8-track tapes in the 1970s. In 1993, the Bethlehem name was revived as Bethlehem Music Company, although Salsoul is often used as an imprint. It was licensed by the Verse Music Group in 2010. TMG: It's Verse, not Verve. Here's a listing for the Davis on Ebay: http://www.ebay.com/itm/EDDIE-LOCKJAW-DAVIS-SHIRLEY-SCOTT-the-best-of-LP-VG-BCP-6069-Bethlehem-1963-US-/350934126679 Eddie Davis Trio Eddie "Lockjaw" Davis (tenor sax) Shirley Scott (organ) Charlie Rice (drums) NYC, July 16, 1956 K8789-1 The Happy Whistler King 4966, LP 606 K8790 Scotty Roo King 5164, LP 566, LP 837; Bethlehem BCP 6069 K8791 I Need Ya King LP 566 K8792 Tia Juana King LP 566; Bethlehem 3026, BCP 6069 K8793 Blues In The Night King LP 566 K8794-1 Teach Me Tonight King 4966, LP 566 * King LP 606 Eddie Davis - Uptown* King LP 566 Eddie Davis - Jazz With A Beat* King LP 837 Various Artists - Giants Of Jazz Organ* Bethlehem BCP 6069 The Best Of Eddie "Lockjaw" Davis* Bethlehem 3026 Eddie Davis - Tia Juana / I Wished On The Moon* King 4966 Eddie Davis - The Happy Whistler / Teach Me Tonight* King 5164 Eddie Davis - Scotty Roo / Eddie's Function 1957 Eddie Davis Quintet Eddie "Lockjaw" Davis (tenor sax) Shirley Scott (organ) Carl Pruitt (bass) Charlie Rice (drums) Ray Barretto (percussion) NYC, January 22, 1957 K8832 I Wished On The Moon King LP 566; Bethlehem 3026 K8833 Speak Low King 5026, LP 566 K8834 Sheila King 5080, LP 566 K8835 Ebb Tide King LP 566, LP 837; Bethlehem BCP 6069 * King LP 566 Eddie Davis - Jazz With A Beat* King LP 837 Various Artists - Giants Of Jazz Organ* Bethlehem BCP 6069 The Best Of Eddie "Lockjaw" Davis* Bethlehem 3026 Eddie Davis - Tia Juana / I Wished On The Moon* King 5026 Eddie Davis - Speak Low / It Ain't Necessarily So* King 5080 Eddie Davis - Sheila / Say What Eddie Davis Quintet same personnel NYC, February 5, 1957 K8836 Say What King 5080, LP 566 K8837 From This Moment On King LP 599 K8838 It Ain't Necessarily So King 5026, LP 566 K8839 Eddie's Function King 5164, LP 566; Bethlehem BCP 6069 * King LP 566 Eddie Davis - Jazz With A Beat* King LP 599 Eddie Davis - Big Beat Jazz* Bethlehem BCP 6069 The Best Of Eddie "Lockjaw" Davis* King 5080 Eddie Davis - Sheila / Say What* King 5026 Eddie Davis - Speak Low / It Ain't Necessarily So* King 5164 Eddie Davis - Scotty Roo / Eddie's Function

http://www.iajrc.org/index.php/cd-sales-listing/103-cd-1021

Again I agree with you, Milestones. Byrd has such a huge discography that it's hard to know where to dig in (12 or so albums for Riverside alone - see discography). A friend turned me on to Blues For Night People (from Byrd At The Gate). One I found on my own was "At The Village Vanguard," where he really stretches out. He was the first to discover and popularize bossa nova, bringing it to Getz's attention. Looking forward to more Charlie Byrd recommendations. I got to see him once, in a version of The Great Guitars. It was at a concert honoring Barney Kessel, who was in the audience (post-stroke, unfortunately). The Great Guitars on that day consisted of Byrd, Tal Farlow, and Herb Ellis. Wonderful stuff. It was neat seeing Byrd play his classical guitar with proper form, footstool and all.

Great news! Can't wait to hear it.

Now $119.99.

Price on Amazon (US) is now $128.24.

Cool! Thanks for posting.

Try other CD players in the house: either standalone players or ones in computers. If you have enough, odds are good that one can still play it. At that point, try to make a copy: if it's on another computer, try ripping it to iTunes on that computer, and then transfer the files. Or if you have a component CD recorder as part of your stereo system, you could try to make a digital copy using that. I also have Roxio Toast software on my computer, which will make an exact digital copy of a disc. BTW, I only have this problem with Verve CDs.

Black hand = Jerry Garcia (look at the middle digit).

Thanks for posting. I loved this: One time I played a note on the last measure of the song to go back to the top of the tune. It was a note he didn't expect to hear, and as we were playing behind George he walked by and said, "What was that note?" I told him it was a B natural, the third of G dominant 7 going back to C minor, and I can't talk while I'm playing so don't ask me any more questions.

I'm not sure about "5," but if you look at the number of guitarists he's influenced, it's huge. I think it's his touch, more than anything else, that helped expand the jazz guitar vocabulary. It's an intimate sound, and it allowed guitarists to move away from a blues-based vocabulary, as well as an overly-electric tone and a reliance on fast runs. He doesn't hit you over the head; instead, he burrows into your ear and caresses your mind. So, yes, I'm in agreement with you, Milestones.

It must be some sort of work in progress. The Doug Watkins discography has a total of two entries.

In the Wall Street Journal today, there's a good long review of Andrew Cyrille's 2 new albums.

Sounds interesting.

Besides, if they selected just a few concerts, listeners would complain about the ones not included. This sort of release is for the completist, anyway. Once you have it, you can listen to it at your leisure. There are probably interesting variations between the concerts. I've owned the acoustic set of the Melbourne, Australia concert (disc #3) for many years. Boy, is it eerie. That's fine; I much prefer Bobby Jones.

??? No price listed now: https://www.amazon.co.uk/1966-Live-Recordings-Bob-Dylan/dp/B01LXC8X05/ref=sr_tnr_p_1_9840746031_1?ie=UTF8&qid=1475032944&sr=8-1&keywords=B01LXC8X05 These interviews are from the Scorsese documentary "No Direction Home." There's some live concert footage there that you should check out. Those guys interviewed were folkies who hated Dylan's electric turn. Better to judge from this: Bobby Jones is an unsung hero - very integral to the group's sound during this tour. Better suited to this material than Levon, IMHO, who rushed the beat.

Bob Dylan to Release 36-Disc Set of 1966 Concerts http://bestclassicbands.com/bob-dylan-1966-box-set-9-27-16/ Boy, did I call this one, or what?

Maybe he did a David Bowie!

Herschell Gordon Lewis, the horror filmmaker known as the “godfather of gore,” has died. He was 87. https://www.theguardian.com/film/2016/sep/26/splatter-king-herschell-gordon-lewis-dies-aged-87

I hope to participate (via streaming). The last 2 months have been crazy, but this one should be easier.

Thanks for posting this. However, there are two huge ironies underlying, and undermining, his case: 1) Richard Spencer didn't really write "Amen Brother." It's obviously an instrumental version of Curtis Mayfield's "Amen." 2) Unless Richard Spencer was the drummer, he didn't "write" "the Amen" drum break - the drummer did, as part of working out the song's arrangement. If I was the drummer, I'd be pissed at EVERYBODY.

This might be a fun challenge. Let's say you ran a record label, and let's say you could get the rights from all the different labels of all of Yusef Lateef's output from, say, 1957 - 1962, and let's say you wanted to put out a one-CD set of the best of Yusef during those years...which tracks would you choose for this compilation disc and how would you sequence it? Remember, you're limited to, let's say, 78 minutes (the length of a CD). What would your compilation disc look like?

Sean Carroll, 49, is a theoretical physicist at the California Institute of Technology and the author of four books, including “The Big Picture” (Dutton). He spoke with Marc Myers. When I was on the faculty of the University of Chicago in 2002, I organized a conference on cosmology—the study of the universe’s origin and development. I wanted to invite tenor saxophonist Von Freeman to perform. I loved his 1996 recording of Billy Strayhorn’s “My Little Brown Book.” I’ve always been a big jazz fan, and Von was a local legend in Chicago. He was in his late 70s then and was still appearing often at the New Apartment Lounge on the city’s South Side. One night, faculty friends and I went to hear Von play and to see if we could hire him and his quartet for the conference’s banquet. In between sets, we went up and introduced ourselves. We didn’t have to sell. As soon as we told Von what we wanted, he said, “Sure, talk to my agent.” We had a $3,000 budget, and his agent gladly took it. At the event, Von was a big hit. Although I can’t remember now if he played “My Little Brown Book,” the song meant a lot to me. It was for a musical, “Fantastic Rhythm,” that Strayhorn wrote in the mid-1930s while in high school. Duke Ellington first recorded the song in 1942 with vocalist Herb Jeffries. I discovered Von’s version on his album “Live at the Dakota.” For nearly four minutes, he plays the song unaccompanied. I was blown away by the simplicity and purity of his improvisation. The song came in handy in 2006. A year earlier I had been denied tenure at the University of Chicago. At the time, it was a massive career blow and a big personal rejection. Then California Institute of Technology offered me a position as a senior research professor. But I put off making a decision and hung around at the University of Chicago in denial for a year. Finally, I had to choose: take the Caltech post and do scientific research and give talks and write books, or find an opportunity at another university. Von’s solo version of “My Little Brown Book” put me in a contemplative place, gave me a reality check and helped me let go of the past. I accepted the Caltech offer, and the move wound up changing my life for the better. I just wish I could tell Von. He died in 2012.