felser

I like the Byrd/Gryce Jazz Workshop series on Lone Hill. Also, the Definitive packaging of the Chet Baker material makes a whole lot more sense than what EMI has done with it. EMI has not served us well recently on how they stretch that Baker Pacific Jazz material into as many CD's as they possible can, 20 minutes of music plus alternate versions. I will admit that the sound quality on the recent EMI Baker issues was stunning compared with what has been out there in the past. Proper does an amazing job in putting out intelligent sets - so many of them are the ultimate word in a given period for a given artist.

Disagree totally. That set is master takes only of Blue Note and Bethlehem cuts, which is totally different than any other set that's been out on Nichols, which are the complete Blue Note with alternate takes, and the single Bethlehem album.

And why this one, which was a collection of outtakes (good as some of them are) when originally issued, instead of 'For Losers' or 'Things Have Got To Change'?

Beautiful stuff. Thanks so much for sharing this.

Question: Do we KNOW that Lone Hill is pirating the stuff, or are we assuming it? Two points - 1. It's my understanding that there are some countries with a 35 year copyright law. 2. Lone Hill isn't just putting out material from little, out of business labels. They're putting out material held by EMI, Sony, etc. Why wouldn't those companies go after them if there's a legality issue? And it's not artists who won't sell at all, it's Chet Baker, Count Basie, etc. And they're using cover art from the original releases in their booklets, original liner notes, etc. Has anyone ever contacted Lone Hill to find out the basis of these releases? What do we know here, and what are we assuming?

Actually, my daughter and her friend were able to make what they consider better arrangements and we let them off the hook (they haven't grown ears - yet), but the lovely Mrs. Felser will be with me. It'll be a date - we don't get many of those these days.

Great point! Afro-Blue-->Spanish Lady-->In Memory of Elizabeth Reed (really). I was thinking more "Whipping Post," but "Elizabeth Reed" is another good example. Duane Allman was an admirer of Coltrane. I got into jazz in '72 by checking out 'A Love Supreme' from my college library album browser. I was drawn to do so out of curiosity because Roger McGuinn of the Byrds and Jorma Kaukonen and Jack Casady of the Jefferson Airplane had identified Trane as a major influence on their work in the 60's. Similar experimenting with listening to Ravi Shankar did not produce the same joyful results.

Great point! Afro-Blue-->Spanish Lady-->In Memory of Elizabeth Reed (really).

Apples and oranges. I'll take this over any Ayler and almost any Ornette, and any late (post 'Transition') Trane except maybe 'Meditations', but they're very different things. Not for me. Understood, it's not your cup of tea. It's just very different than the guys you mentioned.

Apples and oranges. I'll take this over any Ayler and almost any Ornette, and any late (post 'Transition') Trane except maybe 'Meditations', but they're very different things.

Who was ahead of them on the same curve? I ask to make sure I'm not missing anything from that period that I will want to go back and check into.

Chuck, I know that was quite a period for the music. Was there anything else that sounded like that Handy group? The closest I can think of was the Chico Hamilton group with Lloyd and Szabo (and boy is THAT an underappreciated group. Why are so many of those albums OOP?), but they didn't have anything like Michael White, and weren't working in long form like the Handy group did here.

I can understand Columbia reversing the cuts, as "Spanish Lady"' is much more immediately gripping to my ears.

An amazing 1965 performance with the then relatively unknown group of Michael White, Jerry Hahn, Don Thompson, and Terry Clarke. Two genre-defining performances totalling over 45 minutes. Nothing quite like it had ever been widely heard before as far as I know, and the shockwaves throughout the jazz world were heard for the next ten years. Unclear to me why this groundbreaking performance seems so forgotten today and why it can't stay in print, because it was a sensation in it's day, and a seminal moment in my jazz listening experience when I was introduced to it in 1972 by a persistent mentor/salesman at Franklin Records. He said that if I didn't think it was fantastic, I could bring it back. Needless to say, I kept it. Handy made some more ground-breaking albums in similar veins for Columbia the next few years - the nightmare of 'Hard Work' was still a decade off. Hahn and White did some very adventurous work which never fit well into a given musical label (like this album didn't). Thompson and each Clarke did great work as a in a number of settings, including Thompson's participation on a great live album with Paul Desmond in the 70's.

She really did make her own mark on the music. Those first four Impulse albums were incredible works.

Lon, to each his own on that call. Main point I was making is that I hope to get a CD of the album rather than a download. As far as the session, I think everyone is right. I find "Money" silly, the title track thrilling.

So far I'm fighting the good fight, have not done i-tunes for the Shepp and Anita O'Day titles I'd really like to have.

Adam, I'm trying to hold off going that route. Peter Principle says it'll come out in Japan as a 1500yen release the day after I pay the ripoff artists at i-tunes for it.

Can anyone tell me where to get a decently priced CD of Archie Shepp - Things Have Got To Change? I should have grabbed the Japanese import of this on Dusty Groove several years ago. Thanks!

I'd love to see Odean Pope (but won't happen. I have seen him a few times through the years), and hope to get to Organissimo despite family scheduling conflicts (negotiations commencing). Negotiations successfully completed. I'll be there for Organissimo at the Art Museum, along with wife, daughter, and daughter's friend who is staying for the weekend.

I'd love to see Odean Pope (but won't happen. I have seen him a few times through the years), and hope to get to Organissimo despite family scheduling conflicts (negotiations commencing).

I hope this all works out OK. Blue Note did the same thing in the 80's (Tyner/McLean, Hubbard, Turrentine, Smith, etc. etc.) and the results were less than spectacular almost across the board. I'm not sure you can (or should) go home again. That being said, I'd love to see them record Harper and look forward to hearing the Tolliver.

I preordered it and the Tyner (and ordered the Lloyd and Blakey singles) from their website earlier in the week.

I've paid my $ for at least one version of any Trane CD that Impulse! (and Pablo and Atlantic and Prestige and Roulette, for that matter) have released, and would do so for this if someone owned the rights and put it out. And Temple University is on the short list of colleges my daughter may attend next year, and I buy every decent Alice Coltrane CD that comes out, so who am I cheating and in what way am I a hypocrite?

Jazz CD reissues seem to still be flooding out in Japan, for whatever $ reason.