Need Help on Ornette Coleman's Whom Do You Work For?

[vodka]

Comrades, got a chance to buy for $10 this unknown to me album. If somebody could tell me if it's good or bad (music and sound), that would be great. It's sealed, so I can't listen to it.

Thanks in advance.

[clifford_thornton]

Can't imagine it sucks, what with Redman and (iirc) Blackwell in the mix. I guess the sound could be off, though.

I don't know the source of this, but I did notice that Get Back also put out the Gaslight '62 Dolphy, originally issued on Ingo.

[J Larsen]

If it's on Get Back I wouldn't bet on the sound being good.

[clifford_thornton]

Sometimes yes, sometimes no. I don't think their QC is all that hot, but you have to consider the source as well. For example, most Actuels sounded like shit in the first place, so Get Back isn't necessarily at fault there.

Pressings of LPs, now I can say that that's where QC really comes into play with Get Back.

[vodka]

Thanks for your comments. I bought it, and it was indeed on Get Back. The music is great. As for the sonics... eh... I guess I won't get poorer spending this 10 bucks...

Having said that, the quality is awful.

[Late]

Having said that, the quality is awful.

The sound quality, or the overall packaging/presentation quality?

I was thinking about picking this one up. Too bad it's a boot. The album I'd really like to hear is Crisis. I have Ornette at 12, but have been told it pales in comparison to Crisis.

I wonder if Ornette or Ornette's estate will ever have his Impulse! sessions (or the complete Town Hall recordings) see reissue light.

[bertrand]

Let's not bury him quite yet

Bertrand.

[Chuck Nessa]

Are we talking about the 1971 Belgrade concert?

I have refused to buy any of the boots but recently downloaded a "freebie" and the sound is better than expected, better than some legal issues - AND THE BAND IS ON FIRE!

[clifford_thornton]

Good to know...

For whatever reason, I like the title that was chosen.

[ep1str0phy]

Well, they're not working for Ornette--so it's a valid question.

[David Ayers]

This is the LP "European Concert" released on Unique Jazz (UJ 013). There are five tracks, less than forty minutes length. Recorded in Berlin and proabably different from the Belgrade concert (which I don't have but is usually listed separately, but has the same track titles). Fair sound (for a boot), very worthwhile music.

[brownie]

I have the 1971 concert on JazzDoor 'The Belgrade Concert'.

It has 6 tracks including an opening announcement in the local language.

The disc runs up to 49m07s.

Sound is excellent.

The music is ... well Chuck said it already 'THE BAND IS ON FIRE!'

[John L]

I have the Jazz Door Belgrade disc too. So can anybody confirm or refute the above conjecture that this is a different concert from Berlin?

[7/4]

Man, this title cracks me up.

[Late]

I have the Jazz Door Belgrade disc too. So can anybody confirm or refute the above conjecture that this is a different concert from Berlin?

This is how I understand the sessions to work out:

• The Belgrade Concert (Jazz Door) = November 2, 1971 (quartet) - Belgrade, Yugoslavia

• Whom Do You Work For? (Get Back) = November 5, 1971 (quartet) - Berlin, West Germany

So, yes, even though I haven't heard either disc, I believe they're separate performances. It would be very nice, instead of boots, to have these, along with other live shows, to be compiled into a box set. Slim chance, I know, but if Ornette picked up on Sonny's lead (releasing previous boots on his own label), it would not only be possible, but (potentially) profitable!

Edited April 25, 2007 by Late

[Late]

One additional note:

I believe that Whom Do You Work For? was also released as Rock the Clock by a Spanish label called Fruit Tree (I think I have that right). The discs should contain the same material.

[John L]

Thanks, Late.

[RDK]

Wasn't this also bootlegged under the more grammatically correct title, "For Whom Do You work?"

[Indestructible!]

Wasn't this also bootlegged under the more grammatically correct title, "For Whom Do You work?"

Cheers,

Shane

[bertrand]

The grammar alone tips you off that it's an Andorran production!

Bertrand.

[RDK]

The grammar alone tips you off that it's an Andorran production!

Bertrand.

Every time I hear about the Andorrans I think of this guy...

[Chuck Nessa]

The grammar alone tips you off that it's an Andorran production!

Bertrand.

Every time I hear about the Andorrans I think of this guy...

Do you have proof this is the guy? I have gunmen looking for him!

[Late]

That is one scary Adam's Apple.

The original title of the composition, I believe, was "Who Do You Work For?"

The dative whom is grammatically correct, but it seems a little anachronistic and/or slightly pretentious in that question. At least to me.

Of course, the original go at the title was a little more awkward: "From Which Entity Do You Employ Your Labors and Extract Compensation?"

[RDK]

Of course, the original go at the title was a little more awkward: "From Which Entity Do You Employ Your Labors and Extract Compensation?"

Now that's a Mingus title!

[Late]

Of course, the original go at the title was a little more awkward: "From Which Entity Do You Employ Your Labors and Extract Compensation?"

Now that's a Mingus title!

You're right!

I wonder if Ornette and Mingus would have been compatible. If so, they could have made some interesting music together — Mingus playing piano on his bass and Ornette playing bongos on his alto saxophone.