Coltrane

[sheldonm]

This article was just sent to me.

Nothing new to many here but interesting none the less!

http://www.cnn.com/2005/SHOWBIZ/Music/10/2...reut/index.html

m~

Edited October 27, 2005 by sheldonm

[bertrand]

There's a lot of interesting stuff in the Library of Congress vaults - why don't the record companies go after that now that the Monk/Trane is selling like hotcakes?

Bertrand.

[CJ Shearn]

agreed Bertrand. Is there any unreleased Jimmy Smith in the Library of Congress vaults? Blue Note or Verve (depending on the time period) could jump on that. The Half Note must have radio broadcasts of Art Blakey since Alan Grant mentions it on ODOU

[Rooster_Ties]

How about 'them' (Columbia probably) releasing some of that live Miles 2nd Quintet material from the Fall tour of 1967!! Wouldn't that sell like hotcakes too?? I sure think it would. (Yeah, I know, Columbia doesn't own the tapes. But surely they can be bought, no?)

Actually, if I can steer this thread in a slightly different direction -- what known grey-market and/or "private" recordings (that are already floating about), would make the most sense to see released, both in terms of potential sales, and/or simply on artistic merit??

Edited October 27, 2005 by Rooster_Ties

[Bill B]

agreed Bertrand.  Is there any unreleased Jimmy Smith in the Library of Congress vaults?  Blue Note or Verve (depending on the time period) could jump on that.  The Half Note must have radio broadcasts of Art Blakey since Alan Grant mentions it on ODOU

←

Blue Note has an unreleased trio session from June 1961 in their vaults.The LOC ??

[clifford_thornton]

I've got quite a few live recordings that haven't been commercially issued - but then again, I'm not sure many of them (even though clean) would make much sense to issue in terms of selling well. I mean, really, how many people would buy Manfred Schoof Sextet gigs from the early '70s?

Artistic merit is another question entirely... a lot of the grey market would be issued on that alone if it were possible.

[RDK]

Indeed, CT, that's the Catch-22 of it all. In order to make these "grey market" recordings "legit," one would have to go through so many expensive legal hoops and contract negotiations, and pay so many royalties that, unless huge sales are guarenteed, they wouldn't be "worth" a company officially releasing them.

[Rooster_Ties]

Surely those live Miles things from late '67 would be worth jumping through all the hoops. I would think they'd have some serious sale potential (relatively speaking).

[bertrand]

Hasn't MC been trying to put together a box set of Miles quintet stuff? The hoops are indeed outrageous; look what happened to the Cellar Door.

Bertrand.

[Rooster_Ties]

Then again, the new Monk/Trane thing went from "first-ever discovery", to "available-in-every-store under the Sun" -- in what, less than a year!!!

So it's no like all those hoops have to be all THAT difficult.

[Trumpet Guy]

I've got quite a few live recordings that haven't been commercially issued - but then again, I'm not sure many of them (even though clean) would make much sense to issue in terms of selling well. I mean, really, how many people would buy Manfred Schoof Sextet gigs from the early '70s?

I'd be way into hearing more Manfred Schoof--I totally dig his playing yet only have 3 vinyl recordings--Scales;Light Lines;Horizons...I want more!!

[Tony Pusey]

Um, I dont know who Manfred is ....

[Michael Fitzgerald]

It's all about the estates and whether they get the figure that in their heads they are entitled to. Throw enough money at them and anything is possible.

Alice Coltrane works on the "dribs and drabs" principle, only allowing a little at a time, always holding something back. That's one way of doing it.

The Andrew Hill approach is another.

Mike

[felser]

The Andrew Hill approach is another.

←

Mike, what is that approach? I'm new to the board.

[Michael Fitzgerald]

http://www.mosaicrecords.com/prodinfo.asp?number=MS-016

Mike

[Rooster_Ties]

I presume it refers to this...

Mosaic Select: Andrew Hill (MS-016)

The 2003 release of Andrew Hill's [previously unreleased] 'Passing Ships' on Blue Note set off a torrent of requests for more unissued Hill material. After some discussions with the artist, we came up with a solution: clean out the closet in one fell swoop.

more here...

Edited October 27, 2005 by Rooster_Ties

[felser]

I presume it refers to this...

Mosaic Select: Andrew Hill (MS-016)

The 2003 release of Andrew Hill's [previously unreleased] 'Passing Ships' on Blue Note set off a torrent of requests for more unissued Hill material. After some discussions with the artist, we came up with a solution: clean out the closet in one fell swoop.

more here...

←

Got it. I own the Hill. Didn't know that the reference was just to the Blue Note sessions, as he has 35 years worth of other stuff.

[marcello]

This, from Larry Appelbaum, via the Jazz Programers List:

While I'm very happy that the Monk-Coltrane CD is attracting so much attention, I'm surprised and occasionally peeved by the number of journalists who make careless mistakes, or worse, simply make things up. I can't even count how many interviews I've done via email where the writer still misspelled my name and got facts wrong. Even some of the leading jazz publications are guilty of this. Another example; this article above is from the Hollywood Reporter, a presumably reputable publication. Yet the reporter never contacted me, so where did he get the idea that I'm a Library of Congress "researcher?" Perhaps from an article two weeks ago in the Washington Post by Matt Schudel? I was surprised that in my own home town a reporter from the W.Post writing about this didn't even lift up the phone to get a quote or to check my job title. And I know he has my business card because I gave it to him myself at a concert earlier this year. So, one reporter makes a mistake that gets published, then others start repeating it. It reminds me of the oft-repeated mistakes stemming from Leonard Feather's Encyclopedia of Jazz, or the fact that for 30 years people have been insisting that Andrew Hill was born in Port Au Prince. Don't get me wrong, in most cases it's just publicity and anything that turns people on to good music is a good thing. But sometimes, for better or worse, publicity that gets published becomes a part of the historical record. While I am occasionally referred to as the Library's jazz specialist, my job title is actually Senior Studio Engineer/Supervisor. More specifically, I am the Supervisor of the Magnetic Recording Laboratory in the Division of Motion Pictures, Broadcasting & Recorded Sound at the Library of Congress.

Now, back to regularly scheduled programming.

Larry Appelbaum (not Applebaum)

WPFW-FM