Rooster_Ties Posted March 27, 2008 Author Report Posted March 27, 2008 Were all nine of the "colorized later" Reid Miles covers released on LP?? And if so, domestically, or only as imports? (and if so, from where?) See my HUGE post above, with the nine covers. I'm about 90% sure I've seen an LP of the Leo Parker (about 8 years ago), and as best I can recall, it was a French 'DMM' issue. (90% sure it was 'DMM' - but only about 70% sure it was French. I think I bought it for somebody here on the board, and sent it to them - come to think of it.) Bringing this up because someday I'd LOVE to find a full-size LP of the Sam Rivers date, as much for the cover as anything. Quote
The Magnificent Goldberg Posted March 27, 2008 Report Posted March 27, 2008 I'm about 90% sure I've seen an LP of the Leo Parker (about 8 years ago), and as best I can recall, it was a French 'DMM' issue. (90% sure it was 'DMM' - but only about 70% sure it was French. I think I bought it for somebody here on the board, and sent it to them - come to think of it.) I've got the Parker. As far as I can remember, it IS a DMM job and I think it was manufactured in France. I just went to dig it out and find I've misfiled it! Arrrrgghhhh!!!! What the hell do you do when you mifile an LP? (sigh) I'll confirm this when I find the bugger. MG Quote
Bluerein Posted March 27, 2008 Report Posted March 27, 2008 OLD question above: Yes there are test pressings of Back to the Tracks and I know who has some of them...... Quote
The Magnificent Goldberg Posted March 27, 2008 Report Posted March 27, 2008 Found it! It was in the pile I hadn't got around to refiling after playing some weeks ago (untidy bugger). So, it IS a DMM and it was manufactured by Pathe Marconi, France. Thinking about this business of EMI inventing the colours on those nine sleeves, it seems extraordinary that Blue Note would hire Reid Miles to do a cover but NOT ask him to do the colouring on it. So, he'd produce, for THIS LP, a white sleeve with white lines and blocks and just the words along the top and leave someone else to put the colours in? That seems to me so extraordinary a proposition that I really can't believe it. So, if Reid usually produced a finished article, why did EMI have to choose colours for those sleeves? MG Quote
Rooster_Ties Posted March 27, 2008 Author Report Posted March 27, 2008 (edited) Thinking about this business of EMI inventing the colours on those nine sleeves, it seems extraordinary that Blue Note would hire Reid Miles to do a cover but NOT ask him to do the colouring on it. So, he'd produce, for THIS LP, a white sleeve with white lines and blocks and just the words along the top and leave someone else to put the colours in? That seems to me so extraordinary a proposition that I really can't believe it. So, if Reid usually produced a finished article, why did EMI have to choose colours for those sleeves? Look back through this thread again. I don't have time to find and quote the right post(s) that I'm sure are there, but the info is there (from my memory). In short, the color negatives (or however they existed in the files) were LOST for these specific 9 covers --- 9 covers which weren't actually used back in the day. Only the B&W "negatives" (or "positives") were ever found. So then the only way to use these covers was to "colorize" them after the fact. They were originally in color, but decades later -- there was no way to know what the colors originally were -- so the modern EMI people had to just guess, and/or make good choices. Edited March 27, 2008 by Rooster_Ties Quote
The Magnificent Goldberg Posted March 27, 2008 Report Posted March 27, 2008 Thinking about this business of EMI inventing the colours on those nine sleeves, it seems extraordinary that Blue Note would hire Reid Miles to do a cover but NOT ask him to do the colouring on it. So, he'd produce, for THIS LP, a white sleeve with white lines and blocks and just the words along the top and leave someone else to put the colours in? That seems to me so extraordinary a proposition that I really can't believe it. So, if Reid usually produced a finished article, why did EMI have to choose colours for those sleeves? Look back through this thread again. I don't have time to find and quote the right post(s) that I'm sure are there, but the info is there (from my memory). In short, the color negatives (or however they existed in the files) were LOST for these specific 9 covers --- 9 covers which weren't actually used back in the day. Only the B&W "negatives" (or "positives") were ever found. So then the only way to use these covers was to "colorize" them after the fact. They were originally in color, but decades later -- there was no way to know what the colors originally were -- so the modern EMI people had to just guess, and/or make good choices. Thanks - I see now. I must have read that before, but forgot. MG Quote
Chuck Nessa Posted March 27, 2008 Report Posted March 27, 2008 Not quite correct. Most of the BN covers (in this case all except the Donaldon) were printed as 2 or 3 color jobs with a film for each Pantone color to be reproduced. For example Let Freedom ring would have one negative for black ink and one for red. The surviving films for Coming Your Way would have been 3 negatives and the problem is deciding what color each neg represented since the films were not marked. Today most color printing is four color process printing and there are 4 "screened" negatives to do the same job. That is probably unclear, but the best I can do right now. Quote
Rooster_Ties Posted March 27, 2008 Author Report Posted March 27, 2008 (edited) That is probably unclear, but the best I can do right now. Better than most of the rest of us could do. Much appreciated, thanks!! Edited March 27, 2008 by Rooster_Ties Quote
Peter A Posted March 28, 2008 Report Posted March 28, 2008 Were all nine of the "colorized later" Reid Miles covers released on LP?? And if so, domestically, or only as imports? (and if so, from where?) See my HUGE post above, with the nine covers. I'm about 90% sure I've seen an LP of the Leo Parker (about 8 years ago), and as best I can recall, it was a French 'DMM' issue. (90% sure it was 'DMM' - but only about 70% sure it was French. I think I bought it for somebody here on the board, and sent it to them - come to think of it.) Bringing this up because someday I'd LOVE to find a full-size LP of the Sam Rivers date, as much for the cover as anything. All nine were released - in the 80's - in the US (and in France as well). Here is another title which has been released in the 80's, with a jacket "a la Reid Miles": Quote
Shawn Posted March 28, 2008 Report Posted March 28, 2008 Of those 9 covers my personal favorites are "Comin' Your Way" (excellent picture of Stan) and the Leo Parker. Quote
The Magnificent Goldberg Posted March 28, 2008 Report Posted March 28, 2008 Of those 9 covers my personal favorites are "Comin' Your Way" (excellent picture of Stan) and the Leo Parker. My mate and I used to LUST after that Leo Parker, seeing it advertised all the time on BN inner sleeves. It's one of the GREAT BN covers in any colour. MG Quote
mjzee Posted March 29, 2008 Report Posted March 29, 2008 The Leo Parker just looks like music, y'know? If you could get a visual representation of somewhere in the middle of a jazz performance, that would be it. You can just see the energy. Quote
The Magnificent Goldberg Posted March 29, 2008 Report Posted March 29, 2008 The Leo Parker just looks like music, y'know? If you could get a visual representation of somewhere in the middle of a jazz performance, that would be it. You can just see the energy. Yes, absolutely. Well said. MG Quote
AndrewHill Posted March 30, 2008 Report Posted March 30, 2008 (edited) Top three from those unrleased (now released) Miles covers: 3. Back from the Tracks 2. Here to Stay 1. Dimensions and Extensions Question to Chuck or anybody: does Dimensions and Extensions come before or after Hi Voltage as the last cover Miles did for BN (I don't recall the original catalogue number for D & E)? Edited March 30, 2008 by Holy Ghost Quote
mjzee Posted March 30, 2008 Report Posted March 30, 2008 As per the Cuscuna and Ruppli discography, Hi Voltage was #4273, and D & E was to be #4261. Quote
Chuck Nessa Posted March 30, 2008 Report Posted March 30, 2008 Top three from those unrleased (now released) Miles covers: 3. Back from the Tracks 2. Here to Stay 1. Dimensions and Extensions Question to Chuck or anybody: does Dimensions and Extensions come before or after Hi Voltage as the last cover Miles did for BN (I don't recall the original catalogue number for D & E)? Rivers - 84261 Mobley - 84273 Quote
The Magnificent Goldberg Posted March 31, 2008 Report Posted March 31, 2008 Top three from those unrleased (now released) Miles covers: 3. Back from the Tracks 2. Here to Stay 1. Dimensions and Extensions Question to Chuck or anybody: does Dimensions and Extensions come before or after Hi Voltage as the last cover Miles did for BN (I don't recall the original catalogue number for D & E)? Rivers - 84261 Mobley - 84273 The Mobley was released in April 1968 but the Rivers didn't appear in the BN Decemmber 1968 catalogue. Must have been issued in 1969 or perhaps even later. Does the catalogue number indicate the order in which RM did the sleeves? Or the release order? MG Quote
Hardbopjazz Posted April 3, 2008 Report Posted April 3, 2008 (edited) Here's one that I bet many think Reid Miles did. It sure looks like one. Edited April 3, 2008 by Hardbopjazz Quote
Swinging Swede Posted April 3, 2008 Report Posted April 3, 2008 Roques apparently liked that cover since he did it twice. Quote
sidewinder Posted April 3, 2008 Report Posted April 3, 2008 I'm about 90% sure I've seen an LP of the Leo Parker (about 8 years ago), and as best I can recall, it was a French 'DMM' issue. (90% sure it was 'DMM' - but only about 70% sure it was French. I think I bought it for somebody here on the board, and sent it to them - come to think of it.) I've got the Parker. As far as I can remember, it IS a DMM job and I think it was manufactured in France. I just went to dig it out and find I've misfiled it! Arrrrgghhhh!!!! What the hell do you do when you mifile an LP? (sigh) I'll confirm this when I find the bugger. MG Yes, I have the Leo Parker too on vinyl. Great cover design. Definitely a DMM and from Pathe Marconi, France. Quote
sidewinder Posted April 3, 2008 Report Posted April 3, 2008 (edited) The Mobley was released in April 1968 but the Rivers didn't appear in the BN Decemmber 1968 catalogue. Must have been issued in 1969 or perhaps even later. Does the catalogue number indicate the order in which RM did the sleeves? Or the release order? MG The Sam Rivers was issued in the mid-70s on the 'brown cover' series of Libery/UA 2LP sets put out by Msrs Cuscuna and Lourie ('Involution'). The first single LP issue was the mid-80s DMM. Edited April 3, 2008 by sidewinder Quote
Chuck Nessa Posted April 4, 2008 Report Posted April 4, 2008 Yes, I have the Leo Parker too on vinyl. Great cover design. Definitely a DMM and from Pathe Marconi, France. By the time this was issued in the US they stopped importing the nasty Pathe pressings and manufactured them at Wakefield, the outfit that I used when I had a choice. Quote
The Magnificent Goldberg Posted April 4, 2008 Report Posted April 4, 2008 Yes, I have the Leo Parker too on vinyl. Great cover design. Definitely a DMM and from Pathe Marconi, France. By the time this was issued in the US they stopped importing the nasty Pathe pressings and manufactured them at Wakefield, the outfit that I used when I had a choice. Great Rugby League team they have there. MG Quote
sidewinder Posted April 4, 2008 Report Posted April 4, 2008 Yes, I have the Leo Parker too on vinyl. Great cover design. Definitely a DMM and from Pathe Marconi, France. By the time this was issued in the US they stopped importing the nasty Pathe pressings and manufactured them at Wakefield, the outfit that I used when I had a choice. Yes, the US versions are distinctly better. I still have a mountain of those French Pathe Marconis and these days they tend to collect quite a bit of dust. At the time though in Blue Note-starved UK the music therein was a total and utter revelation Quote
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