mjzee

https://laist.com/news/arts-and-entertainment/hendrix-newly-released-1969-live-recording-at-the-los-angeles-forum

I see: Dial S For Sonny Sonny's Crib Sonny Clark Trio Cool Struttin' Standards My Conception Leapin' And Lopin' Maybe Serge Chaloff - Blue Serge Without Chaloff, I'd guess the box will be 5 CDs.

Just got an email from Mosaic that my order is being processed!

Look what I found! https://funky16corners.tripod.com/earland_discography.htm Was Dave Schnitter around in 1969? OK, so the bottom line is that these tracks are from two 1969 sessions, produced by Ozzie Cadena, some of which previously appeared on LPs on the Choice label.

I recently bought an LP copy of "Mama Roots" on Muse. It does not list recording dates. In researching (on Wikipedia and elsewhere), I went down a rabbit hole. Turns out some of it was recorded contemporaneously (circa 1977), and some of it came from albums recorded for the Choice record label (not clear if this was Gerry MacDonald's "Choice" label) in 1969, with one track perhaps being recorded in 1966. Except there's an unclear linkage between the Choice tracks and the Mama Roots tracks. This all seems to be the doings of Ozzie Cadena, who's listed as producer on all. So I need some TMG help! And how do you misspell Jimmy on the cover?

TMG: Your links seems to have disappeared. Any chance of reposting them?

Listen to me: Buy a Brother color laser printer. I've owned one for more than 5 years without a day of trouble. The toner it comes with will last you awhile. Toner can be expensive, but you only need to change it every couple of years, and in total it's far cheaper than inkjet ink. Print quality is great. The only place it suffers is printing photos - they'll look "brochure-ish." But if you need to print photos on photo paper, you can send those to Costco. All in all, I've been very happy with mine.

I always liked this:

Ah, I now see. Thanks.

BN? Whozzat?

Here's Lou and "The Beachnuts" doing a cross between The Beach Boys and Dylan:

Is that this? https://archive.org/details/cti-all-stars-1972-chateauvallon-france

Done.

I saw Billy up close with Mahavishnu in 1972 and 1973. He may have been the most astonishing drummer I ever saw (or heard). Listen to the live Mahavishnu record "Between Nothingness And Eternity." I was there for one of the concerts that make up that record. It's exactly the way it went down, no overdubs. Perhaps what's most amazing is that he was self-taught. One interesting album that Cobham plays on is Louis Bellson's Matterhorn: Cobham's name appears nowhere on the record, but you'll notice there are two drum sets on the cover (and one of them is Tama, Cobham's preferred company). Apparently, Cobham and Bellson had a relationship that stretched back years, and the Matterhorn Suite was written specifically with Cobham in mind as the second drummer. Contractual reasons were given for why he isn't credited.

There have also been some on Pablo: Frankfurt 1952, Tokyo 1953, Hartford 1953, and Sonny Criss's "Intermission Riff" (L.A., 1951). There was also Carnegie Hall 1949 with Bird, but that was 1949.

OK, thanks.

I wonder whether the JATP box has overlap with this 10-CD set: As for the Sonny Clark, I was surprised that Mosaic hadn't previously released it. Then I realized they had released the Buddy DeFranco with Clark set. I think I have everything that will be in the Clark box, but am curious if they've found more alternates.

More Hawk to search out. Thanks.

Regarding Ron Carter, I can highly recommend this Elektra Musician date from 1982. Art Farmer!

It could also be because they plan to ship really soon. Their website says: This new release will be available to ship September 7th

Interesting. I gave Mosaic my credit card #, and they charged me for the purchase. In the past, they only charged when they shipped. I hope I don't wind up being charged twice.

I believe the Pablo Tatum solo box is in rechanneled stereo.

Just started listening to this today. Am very impressed with Cliff Jackson, who I've never heard or heard of before.

This is all true, as far as it goes. But the producer can become as important, or more important than, the date's leader or the other musicians. They all affect the sound, but increasing the producer's value skews the vision of the final product, the record, towards the producer. And that's important for us, the consumer (for whom, presumably, the record is being made). I think it's safe to say that most board members like records that reflect the musicians' sensibilities and output, with the producer more there to document the recording date and have some input. Where this is really important can be seen as time went on. Creed Taylor was an intelligent man steeped in music, and CTI records reflected that. But how about Larry Mizell? Whoever produced those bland but popular Turrentine albums on Fantasy, and even worse, on Elektra? Virtually everything released on GRP? Those awful albums Freddie Hubbard released on Columbia? The production (as in "product") quotient went way up, and musical value went way down.