mjzee

Thanks for pointing that out to me. It was a pleasure reading his words. Just don't make me listen to his music.

I received the Jazz Gazette email this morning. Here's their web page: https://www.mosaicrecords.com/jazz-gazette-news/. I hope Michael can accommodate your request.

AFAIK, Cobblestone was a partnership of Schlitten and Fields; Muse was always all Fields. When Cobblestone ended, the two partners took their own masters. Schlitten's ended up on Xanadu, and Fields's on Muse. Muse is now owned by Denon; Schlitten still owns Xanadu.

How's the Doug Carn?

It's a good question, John. I've been retired for a few years, but my situation is not entirely analogous to yours because my wife is still working and my son's still in high school. But the question remains: what to do with one's self in a meaningful way? I actually love being retired. I get to listen to a lot of music, do things around the house, do genealogy research, and volunteer at my synagogue. I could probably do "more," but as the saying goes, luck is preparation waiting for an opportunity. Also, you could hang out a consulting shingle.

Another piece of the puzzle: This upcoming Bethlehem reissue indicates the label is BMG Rights Management (US) LLC. https://www.amazon.com/Little-Girl-Blue-2021-Remaster/dp/B095MZZ3F1/ref=sr_1_21?dchild=1&qid=1623196533&refinements=p_n_date%3A1249114011&rnid=1249111011&s=music&sr=1-21

I had never heard of this before now, but leave it to YouTube: Jim, this might satisfy you...start with the track after the opening Buzzin' Fly:

Probably. Look at the brick - even writing on an uneven surface.

Now available. See: https://owsleystanleyfoundation.org/bears-sonic-journals/merry-go-round-at-the-carousel-tim-buckley-at-the-carousel-ballroom/ This is the most important Tim Buckley release since Dream Letter, featuring a singular performance with a jazz-rock lineup that calls to mind Van Morrison’s Astral Weeks. Buckley, father of Jeff Buckley, made his mark with his Southern California folk-rock sound and four-octave vocal range. But this rich weave of accessible, warm, improvisational music reveals Buckley in a light never before captured on tape, including two newly discovered songs (“Blues, Love” and “The Lonely Life”), early drafts of Buckley classics, and a stunning cover of Fred Neil’s “Merry-Go-Round.” Recorded by the Grateful Dead’s legendary soundman Owsley “Bear” Stanley, the infamous LSD chemist, this is one of the treasures of his Sonic Journal archive. Buckley’s performance is incredible and Bear’s thumbprint on the sonics is part of the magic! Featuring nearly 80 minutes of live performances from June 15 & 16, 1968 at the Carousel Ballroom in San Francisco, CA. This is a significant and rare addition to Tim Buckley’s musical legacy for both the performance and excellent sound quality. A 28-page booklet includes original cover art by Dennis Larkins and liner notes featuring new interviews with bassist John Miller, lyricist Larry Beckett, and Buckley scholar Pat Thomas. With Tim Buckley on vocals and 12-string guitar, John Miller on bass, David Friedman on vibraphone, and Carter C.C. Collins on percussion. These tapes were transferred and mastered by Jeffrey Norman (Mockingbird Mastering), long-time collaborator with the Grateful Dead and Owsley Stanley. “This is the follow up to Dream Letter. Between the sonics and the songs, this is a major moment in Buckley land.” —Pat Thomas, Tim Buckley scholar “A great discovery! … Even though tracks here appear elsewhere in studio albums or other concert recordings, they are not the same at all. They are reinvented. And that’s why every single [release] is worth listening to.”—Larry Beckett, Tim Buckley lyricist

Release date July 9: In Willisau in 1978, Dexter Gordon is in a very happy period. Columbia signs the prodigal tenor resulting in the significant successes “Sophisticated Giant” and “Manhattan Symphony”, together with a rhythm section that Dexter then tours on club stages across the country. From this rich and sustained collaboration is born an incomparable musical osmosis, which makes the saxophonist's quartet of that time an authentic musical ark. It’s consequently this group, exquisitely road tight and brimming with desire to play, which arrives in Willisau in 1978, a year which sees Dexter awarded “Musician of the Year” by Down Beat magazine, and two years before being inducted into the renowned “Jazz Hall of Fame”. And since Dexter is not the type to let the flow of music unfold without fueling it with endless proposals for his partners, he knows he can rely on and lean luxuriously on the Cables – Reid –Gladden triplets, a trio synonymous with 24\-karat! And if we had a mini\-doubt concerning the pleasure that Dexter takes playing that night, we only have to let ourselves be carried away by his muscular and intoxicating dialogue, which is particularly riddled with famous quotes, as enjoyable as they are occasionally unexpected. Like the boppers, Dexter has always adored the nod granted by a well\-placed melodic quote, which he uses either in relation to a neighboring harmonic sequence which lends itself to it, or in a textual relation with the lyrics of the song he quotes! For the repertoire of the day’s concert, our favorite tenor takes no prisoners! It's meat from start to finish, with themes that are practically tattooed on the soul of this exceptional performer.

Reissue release date August 6: Strawberry Records are proud to present the 12 albums that Mose Allison issued on Atlantic Records and Elektra Musician between 1962 and 1982 on 6CDs. This does not include "Greatest Hits" or "Best Of" albums which of course duplicated tracks from regular albums. Although these albums have all appeared on CD reissues at different times over the years. This is the first box set to gather together all of the albums from this period in one set. The original LPs are featured two per CD in chronological order. Produced by Bob Fisher whose detailed essay covers the entire history of Mose Allison's career with quotes and endorsements from artists like Elvis Costello, Bonnie Raitt, Pete Townshend, Georgie Fame, Van Morrison and many others who were inspired by his music. The booklet includes complete recording details and supporting personnel for each album along with numerous reproductions of advertisements, reviews and news stories from music industry magazines. Designed by Michael Robson and mastered by Simon Murphy this is the definitive collection of this period of Mose Allison's career.

Release date July 23: The first previously unissued recording of the late trumpeter Roy Hargrove since his passing in 2018. Recorded in 2006 at Merkin Hall at the Kaufman Music Center in NYC and 2007 at the Williams Center at Lafayette College in Easton, PA with piano great Mulgrew Miller. The 2-CD set includes an elaborate booklet with rare photos, essays, interviews and statements by Sonny Rollins, Christian McBride, Common, Ron Carter, Jon Batiste, Karriem Riggins, Keyon Harold, Chris Botti & more. 2 CD Digi-Pak.

Release date July 16: Dave McMurray made his Blue Note debut in 2018 with Music Is Life, an album that focused largely on his own assertive original tunes. Now, the saxophonist returns with Grateful Deadication, a cover album that turns one of the most celebrated catalogs in rock songwriting into a vehicle for his own jazz expression. McMurray transforms Grateful Dead favorites like "Dark Star" and "Franklin's Tower." He is joined by vocalist Bettye LaVette & Bob Weir & Wolf Bros. on a sublime version of "Loser."

It depends how "competes" is defined. There are many PD boxes that come close to duplicating Mosaic boxes, but the Mosaics are now OOP, so are they competing with used copies on Ebay? But you can more make the case that some PD boxes compete with individual albums that are still in print:

Has anyone read the redbook?

True. And you "pay" on YouTube by having to sit through obnoxious commercials. And how is paying Google/YouTube any better than paying these PD houses? I'm coming to enjoy these PD boxes. Sound quality and consistency are getting much better. I fill in my knowledge about lesser-known musicians and dates that the majors can't be bothered to reissue. And frankly, I'm getting somewhat pissed at these Japanese reissues. Virtually none of them have English translations. Having the entire package in Japanese is a bit obnoxious. Classical labels long ago knew to print liner notes in other languages, but I recently bought a George Szell title on Sony Japan where I had to Google the album to find out the compositions that were played.

Dusty Groove has the upcoming Burrell reissues at a good price: $18.99. I ordered Blue Bash, Common Ground, A Generation Ago Today, Night Song, and Asphalt Canyon Suite. I think Verve generally blanded-out their artists, but hopefully the Burrell personality will shine through. Recently ordered this, and thoroughly enjoyed it:

Thanks!

Currently enjoying:

Ode was owned by Lou Adler. Per Wikipedia: It was distributed by CBS's Epic Records except between 1970 and 1976, when the label was distributed by A&M Records. The original incarnation was closed in 1978 and CBS took over most of catalog, often with Epic logos replacing Ode logos on reissues. Adler reactivated the label several times, including another short run with A&M in 1989. It was disbanded when A&M was sold to PolyGram in late 1989. Ode is now part of Sony Music Entertainment (the successor to CBS), excluding: Cheech & Chong catalogue is controlled by Warner Music Group. After Cheech & Chong switched to Warner Bros. Records in 1978, they took also its past catalog to their new home label. Depending on reissue, they can have "Warner Bros. Records Inc.", "Warner Records Inc." or "Ode Records" printed as copyright owner. It is believed that Lou Adler still owns copyrights for its Ode releases. Soundtrack to The Rocky Horror Picture Show and the London Symphony Orchestra's version of Tommy are still owned by Lou Adler, with reissues distributed under license to third party oldies labels like Rhino, Castle Communications and more recently, The Orchard, another subsidiary of Sony Music. Re Kama Sutra, again per Wikipedia: Kama Sutra Records was started in 1964 by Arthur "Artie" Ripp, Hy Mizrahi and Phil Steinberg as Kama Sutra Productions, a production house. The "Kama Sutra" is an ancient Sanskrit text.[1] In 1965, the company was joined by Art Kass and the record label itself was started. A distribution deal with MGM Records was later signed, which lasted from 1965 until 1969. From 1969 onward, distribution was then handled by co-owned Buddah Records. The record company ceased in mid-1976 but restarted in 1981 as Sutra Records. Under this moniker, Kass marketed and distributed Fever Records, Blue Dog Records, Baila Records, Becket Records, and signed and recorded the Cover Girls, the Fat Boys, Victor Willis, and many more before the company filed for Chapter 7 bankruptcy in 1993. The 1965-1976 Kama Sutra catalogue is now owned by Sony Music Entertainment and managed by Legacy Recordings. The 1981–1993 Sutra catalogue is controlled by Unidisc Music. Re Dean Martin: Per allmusic.com, Dean owned his masters. Regarding his recordings being reissued on Sony, see: http://www.deanmartin.com/news/dean-martins-reprise-records-catalog-comes-legacy-recordings/ Interestingly, there is still a BMG (Bertelsmann Music Group) Rights Management company. The gory details can be found here: https://en.wikipedia.org/wiki/Bertelsmann_Music_Group So for example, Amazon shows the label for Van Morrison's latest release (yes, the loved-on-this-board "Latest Record Project Volume 1") as "BMG Rights Management (UK) Ltd."

Wow.

Correct. And of the three, I'd say Universal is by far the largest and most powerful.

Headphones make the problem really apparent.

Polygram was absorbed by Universal in 1998: https://en.wikipedia.org/wiki/PolyGram Warner Music Group owns WEA, Atlantic/Atco, etc., as well as some labels that Universal was forced to sell (Roulette, EMI Classical). If you have a couple of hours, you can read about it here: https://en.wikipedia.org/wiki/Warner_Music_Group Someone should do a flow chart of labels and their changing corporate owners over the years.