Moon Label

[Hardbopjazz]

I was having a discussion with someone whether Moon is a legit label. At least for me a lot of these label out of Italy aren't legit. There is something on Moon I would like to buy but I don't like to buy bootlegs since the artists don't see any of the money.

Moon 054 Rollins meets Cheery.

[marcello]

I believe that Moon is not legit.

[Chuck Nessa]

Thieves.

[JSngry]

So if you ever come across their two volumes of Sonny Rollins in Denmark - STEAL THEM!!!

[Ken Dryden]

Moon is out of business. They also had some pretty stupid covers as well as stolen music.

[David Ayers]

Well I'll buy them if you don't want them...

[Hardbopjazz]

Well I'll buy them if you don't want them...

Here is the link.

Amazon

[JSngry]

Them's not Moon, them's Gambit!

[Hardbopjazz]

Them's not Moon, them's Gambit!

Yes, you're right. Also a bootleg label.

I can't find the link to the Moon releases.

Edited June 30, 2009 by Hardbopjazz

[JSngry]

Moon came and went a while ago.

But those two Sonny In Denmark sides are...essential. For real. But steal 'em, don't buy!

[John L]

I don't put Moon in the same category as Gambit. Yes, they are both pure bootleg labels. But I can't recall Moon treading on the copyright of commercial labels, or playing the 50-year game for European public domain. Moon was an old fashioned bootleg label that concentrated on privately recorded live concerts and hopelessly out-of-print material.

And yes, the Sonny Rollins in Denmark is something else. I saw that in a store a few years back and came on Organissimo to ask if it was worth buying. The prophet Jim S. told me that it would change my life, and I've never been the same since.

[Chuck Nessa]

'cept Gambit doesn't pay attention to the 50 year rule at all times.

[Ken Dryden]

I liked what Sonny Rollins did with some live recordings illegally issued by Harkit. He sells downloads on his website.

[Hardbopjazz]

I liked what Sonny Rollins did with some live recordings illegally issued by Harkit. He sells downloads on his website.

Yeah, beat the bootleggers at their own game. One problem, those who would most likely be interested in the Ronnie Scott shows really aren't into MP3s.

Edited June 30, 2009 by Hardbopjazz

[Ken Dryden]

Some of the rockers like Frank Zappa and Emerson, Lake & Palmer simply compiled bootleg records into boxed sets and sold them in new packaging. What's funny it that Zappa likely had originally soundboard tapes of many of the booted shows, but that would have cost more money to create.

[medjuck]

I don't put Moon in the same category as Gambit. Yes, they are both pure bootleg labels. But I can't recall Moon treading on the copyright of commercial labels, or playing the 50-year game for European public domain. Moon was an old fashioned bootleg label that concentrated on privately recorded live concerts and hopelessly out-of-print material.

And yes, the Sonny Rollins in Denmark is something else. I saw that in a store a few years back and came on Organissimo to ask if it was worth buying. The prophet Jim S. told me that it would change my life, and I've never been the same since.

I guess they're not related to " Blue Moon" records which definitely released copyrighted stuff.

[AndrewHill]

I have an Ornette cd on Moon titled "Broken Shadows", which was a concert recorded in 1969. I don't think its copyrighted, but its definitely bootleg quality with so-so sound. Needless to say, it fills a gap between the BN and the Impulse! eras.

[Victor Christensen]

I agree with all of you about the bootleg companies, but they fill gaps, that the Major Records companies would not touch anyway, sorry to say this, but I have filled many holes in my collection buying bootleg CD's.

I buy many from Jazzmessengers in Barcelona(Spain), they have a great selection and good prices and give very good service, once a package to me never arrived, they send a new one, no charge.

Vic

BTW Rollins in Copenhagen is great, but I also have a real bootleg with Him from Copenhagen 1965, Rollins, NHOP, Alan Dawson, it's fantastic, it's from a radio broadcast, very good sound.

[JSngry]

BTW Rollins in Copenhagen is great, but I also have a real bootleg with Him from Copenhagen 1965, Rollins, NHOP, Alan Dawson, it's fantastic, it's from a radio broadcast, very good sound.

Is that the same gig that came out on Magnetic?

[Chuck Nessa]

As long as the consumer is served.

[Hardbopjazz]

I understand your point about filling gaps, but it is still taking revenue for the artists; plus maybe, in the case of Rollins, he didn't like his playing that night and this is being sold. The artists should represent how he is heard and immortalized to his fans and critics. That's my take on it.

Edited July 3, 2009 by Hardbopjazz

[JSngry]

The artists should represent how he is heard and immortalized to his fans and critics.

OOPS! There goes about 90% of recorded jazz!

[Hardbopjazz]

The artists should represent how he is heard and immortalized to his fans and critics.

OOPS! There goes about 90% of recorded jazz!

You think it is that hi?

[Chuck Nessa]

The artists should represent how he is heard and immortalized to his fans and critics.

OOPS! There goes about 90% of recorded jazz!

?

[JSngry]

Ok, 90% might be high, but...we're talking about representing "how (the artist) is heard and immortalized"...well...there's a lot of choices made in terms of repertoire, accompaniment, engineering, mixing, sequencing, etcetcetc into which most artists have little to no input.

Lester Young wanted strings, Granz didn't. Granz won.

Miles wanted the Bartz/Jarrett band recorded at Paul's Mall. Columbia didn't. Columbia won.

Horave Parlan wanted to release an album w/that Ronnie Boykins tune, but Lion said no, not if I don't get the publishing, which he didn't. Lion won, at least for a long time.

Don Schlitten, I've heard, was always suggesting tunes for cats to play at their sessions. No biggie, but still...maybe not everybody would have recorded all those bebop tunes if left to their own devices.

"Vault albums" and/or "contractual obligation albums", anybody?

I'm noit saying that all "production" & "supervision" is bad, obviously far from it, just that if you only recognized as "legit" all recordings where all the decisions about what was heard and how were made by the artist alone, we'd not have a whole helluva lot left to listen to relative to what we have now.

I remember a time when the common word among musicians was that records weren't the real deal, that you if you wanted the whole picture you had to get it live. Now we got cats saying, no, live shouldn't be heard unless the artist approves. You can argue that financially, but esthetically, ain't no way you can have it both ways. And from what I know, the old-school musician line was the truth.

Then again, jazz has evolved/devolved into less an "in the moment" experience and more a "project" music/mentality. So there you got a point. Wwhen the package is the package, them's different rules for a different game. But Sonny Rollins' personal feelings be damned (forgive me!) - if all I hear between East Broadway Rundown & Next Album is...nothing when there's this documentation of some brilliant improvising (which still needs pitch-correcting, btw), then fuck me for not caring enough about what Sonny Rollins really is outside of a "packaged commodity" to check it out some kind of way.