Adam

There current strains are very transmissible, and since most people behave as though Covid doesn't exist anymore, it's very easy to catch it. People can still spread it without having symptoms themselves. Yep, there will be a lot this summer.

He was the oldest living Hall of fame member.

More info from the listing just below. I can't yet locate the detailed finding aid online; that might be on site only. if anyone is in Ottawa... Bley's daughter died a few years ago. General note: Dub copies of Bley recordings are not described in this series. While many dubs are simply direct copies of described recordings, the boxes for some (particularly audio reels) often contain additional information on the recording, including song titles (and changes thereto), composer credits, editing and mixing decisions, and commentaries on the performances and on technical aspects of the recording. The existence of dubs with significant textual information is noted in the relevant descriptions. Arrangement note: Hide detail The series contains the following sub-series: MUS 297/E1 Live Recordings of Paul Bley and Related Records; MUS 297/E2 Studio Recordings of Paul Bley and Related Records; MUS 297/E3 Combined Studio and Live Recordings of Paul Bley and Related Records; MUS 297/E4 Other Records Concerning Paul Bley Recordings. In cases where the place of recording is not known, but there are no indications of a live audience, the recording has been described in MUS 297/E2. MUS 297/E3 contains: individual recordings that include both live and studio performances; and recordings, which while individually are either live or studio, are related to larger projects that combined both studio and live recordings. Related records found with a recording are described with that recording, and other related records are described in sub-series MUS 297/E4. The recordings in each sub-series are arranged according to the date of Bley's performance, which is generally (but not always) the same as the date of creation., Sound recordings pertaining to Sun Ra's St Louis Blues: Solo Piano, IAI 37.38.58, are described as part of MUS 297/E1 because of their integral connection with the unmixed masters and unmixed copies of the Bley-Sun Ra performances at Axis-in-Soho, July 1977, which are also described in MUS 297/E1. The Rights info isn't the greatest. if you click on the Access tab, you can see what there is. Everything that is a sound recording is either Restricted, or Open for consultation but no copying. Sound recordings [Consultation18 Restricted] File MUS 297/E1,97 is subject to access restrictions. Sound recording [T10W1] 109--146 [Consultation 95 Open, no copying] One would have to ask them for more details,but the material would likely be considered under copyright and heirs would have to be consulted. Bley-Sun Ra performances at Axis-in-Soho, July 1977??? the overall listing says that there is material from roughly 1953 to 2000, but details don't appear online.

Just came across this while doing research at Library and Archives Canada: Paul Bley recordings and related records [multiple media] Hierarchical level: Series Date: [ca. 1953]-2000. Reference: R11915-5-7-E, MUS 297, MUS 297/E Type of material: Photographs, Moving images, Sound recordings, Textual material, Art Found in: Archives / Collections and Fonds Item ID number: 210550 https://recherche-collection-search.bac-lac.gc.ca/eng/Home/Record?app=fonandcol&IdNumber=210550 Extent: 41 cm of textual records. 7 photographs : b&w ; 20 x 25 cm or smaller. 1 negative : b&w ; 3 x 24 cm. 1 montage : col. ; 42.5 x 28 cm. 524 audio reels (ca. 296 hrs). 19 audio cassettes (ca. 19 hrs 48 min.). 2 videocassettes (ca. 1 hr 52 min.). Language of material: English Scope and content: Show detail Finding aid: Hide detail (Electronic) Numerical list. The descriptions in this series generally include (where known) the performers, instrumentation, titles, the place and date of the recorded performance, and the generation or stage of the recording. In order to minimize repetition, the names of composers have generally been omitted from the descriptions. A comprehensive listing of the compositions in Bley's recorded repertoire, and their composers, is available in Henk Kluck's discography, Bley Play: The Paul Bley Recordings (Emmen, The Netherlands, 1996). (90: Open) Scope and content: Hide detail Series containing, predominantly, sound and video recordings of live and studio performances by Paul Bley (solo and with other musicians), comprising both concerts and recording sessions that are also documented (in whole or in part) in issued recordings and those that are entirely unissued; also included are related textual and graphic records. Among the sound recordings are: masters, including edited and unedited unmixed masters; safety masters and sub-masters; trial and final assemblies, including assemblies of unmixed masters; master mixes; and unmixed, mixed, and other copies. In the case of sound recordings related to projects issued by IAI and other record labels, many steps of the process between performance and publication are documented (for example, the original recording process, evaluation, selection, editing, titling, composer credits, assembly, mixing, and arrangements for pressing). Many recordings concerning issued projects also contain additional music that was not issued. Bley often made significant annotations on audio reel boxes, such as: his comments on and assessment of the performance, the piano, and technical aspects of the recording; and his subsequent decisions concerning the selection of performances to be issued, editing, assembly, mixing, and titling. Among the related records are: take sheets, track sheets, and other listings of personnel, titles, and other contextual and technical information concerning recorded concerts and studio recording sessions; empty audio reel boxes, and fragments of boxes; notes; sketches of assemblies; correspondence; forms, such as purchase and work orders; photographs; promotional material, including concert posters and programmes; draft liner notes; transcriptions of Bley's recorded solos; and dubs of radio broadcasts featuring Bley recordings. In addition to performances by Bley, some recordings also contain performances by groups that do not include Bley. 524 audio reels (ca. 296 hrs) "comprising both concerts and recording sessions that are also documented (in whole or in part) in issued recordings and those that are entirely unissued"!!! For any record producers who are interested... 🙂

I picked up the LPs of Waldron/Lacy, Lateef, and Adderley Poppin' in Paris. That's what i could afford currently. I was standing next to someone at the store (Canterbury Records in Pasadena) who picked up a copy of the Nat King Cole, and another person standing there said "I worked on that; thank you for picking it up." I didn't ask more questions, but there it is. I'll get others on CD someday if I get them. Tried to play Lateef and my turntable wouldn't work, so more to deal with...

All the Elemental Releases are coming on CD with a street date of April 26. https://www.elemental-music.com/71-deluxe-cds-april-26th

Blue Note just tweeted the news. Such a vitally important person to the music.

And Ruth has been the director of the Jazz BAkery in Los Angeles for many a year.

Here's full info on their site, and the 3 CD set is only $30 from Resonance directly. https://resonancerecords.org/product/les-mccann-never-a-dull-momentcd/ Also note that the early Nat King Cole box is only $30 for 7 CDs, and $60 for 10 LPs https://resonancerecords.org/product/hcd-2042-nat-king-cole-hittin-the-ramp-the-early-years-1936-1943/ https://resonancerecords.org/product/nat-king-cole-hittin-the-ramp-the-early-years-1936-1943/

A bit interested in breaking this down. Asch should be under Smithsonian Folkways - that shouldn't have been hard to license. Commodore, Keynote, Signature - I thought these are all Universal Music Group now, as are Blue Note & Verve, whom Mosaic obviously works with regularly. RCA Victor should be Sony/BMG I don't know who controls Musicraft, Swing, and Apollo these days, although most fo the time, the answer seems to be Universal Music Group. 🙂 In other words, I would have thought that they could have included some of those sessions as they are under parent labels with whom they have worked before. Maybe there are other issues, like some labels not wanting to be in a set with other particular labels, or a concern regarding the total number of discs and the cost. All speculation.

Generalizations can be accurate with individual cases being exceptions. So the presumption doesn't fail based on your one case, same as my individual case (also not being more well-to-do) doesn't disprove the accuracy of the generalization. And I think it is safe to say that most jazz vinyl collectors skew older and more well-to-do. I would hope that that isn't always the case. I think your second point has an embedded really important point. Younger, not-wealthy buyers need to see some less expensive releases in order to buy the vinyl, so that there will be a future for jazz. Here in Los Angeles (big city), there are solid crowds for experimental and improvised music (and very small audiences as well), but I don't know if many of those people are looking at buying jazz from the 1940s-80s, and at $30 or $40 a record, they aren't likely to pick any up on a lark. Limited edition high-cost box sets from New Land (last year's Dorothy Ashby, and now this) aren't really going to be the primary practice of the industry; these are exceptions, and may or may not find enough buyers at that price point. It costs a lot to do all the work for a nice box set - restoration, paying for essays, licensing images & music, pressing records, storage, paying personnel to administer, assembly, shipping etc for a product that will never have mass sales. And their break-even point needs to be somewhere below selling all 1000 copies. I mean, I won't buy it, and they probably won't sell all 1000. Would they sell them all if they priced it at $100? $75? That doesn't seem likely either. Might as well price it high, so they can break even after selling X number (200? 300?)

Third Man Records brought it out as a Verve By Request, for $40 https://thirdmanrecords.com/collections/all-music/products/the-peace-maker-limited-edition-yellow-vinyl

More Big Jay McNeeley. His original hit: And Joe Houston - All Night Long

me three. no new ones on their site yet. ad one of these two was not sold out as of yesterday

For a documentary I'm working on, I'm trying to locate copies of two 45s from J-V-B Records in Detroit in the 1950s, in the hopes of getting high resolution scans of their labels. They are Aretha Franklin "Never Grow Old" https://www.discogs.com/master/361484-Aretha-Franklin-Never-Grow-Old-You-Grow-Closer Kenny Burrell "Kenny's Sound" https://www.discogs.com/release/14030770-Kenny-Burrell-Four-Sharps-Kennys-Sound-Funny-Valentine If you have one, please write PM me. Thank you!