I've long wondered how an 'organization'/'clearinghouse' dedicated to assisting fans in financially helping out their favorites in multiple ways would fare; Go Fund Me, Bandcamp and maybe others these days seem to have similar goals. I'm reminded here of reading about Philip Glass, the plumber, for example.
Both are on both of these discs, apparently, but it doesn't look like they are together on either. joe pass ken peplowski music | Discogs
It's irrevocably tainted by my perspective of course, but I see that as "how lucky!" even if selling them off is the sole option, as those who end up owning them should be happy, and those doing the disposing will benefit financially. I see it as a "win/win," but I get what you're saying too, as my own situation isn't all that much different; though I'd love 5,000 feet too, I don't expect to ever have that; I'm content with the 1,000 or so 'underground' that I do have, with enough space to allow for additions; we pretty much have "his and her floors" too, which in our situation helps. Sound itself though is always an issue... I learned a long time ago though that most people are not interested in listening to as much, or as many types, of music as I do.
Bardens made at least 2 solo LPs post-Them, pre-Camel as well; I used to have both, but not any more. Peter Green and future Attraction bassist Bruce Thomas are on this one: Peter Bardens - The Answer This is the one I still have:
This is Buster Smith’s only album, recorded for Atlantic in 1959. Nice swinging music from a bygone era. Buster plays both tenor and guitar. Legendary is probably not an exaggeration as he played with the Blue Devils in the 1930s (which included Walter Page, Count Basie, Jimmy Rushing, Lester Young and Count Basie). He and Count Basie later formed the Buster Smith-Count Basie Band of Rhythm. He also mentored Charlie Parker in the 1930s.
Me too. Praise the Lord for headphones! I have three great pairs. Right now The Visconti remixed version. A great, influential album (reititled "The Man who Sold the World") and a delight to hear after a long absense.
I suppose that when Alfred Lion retired in 1967, Etcetera and The Soothsayer were among some old sessions that fell through the cracks. Francis Wolff and Duke Pearson probably preferred to put out fresh material. The same thing seemed to happen again when United Artists bought Liberty in 1971. Ah, well. I think that Etcetera is one of Wayne's best, too.
Later on, he took up the electric bass with which he worked for quite some time as well too. Buster Smith – Dallas/Fort Worth Professional Musicians Association
Haven't heard that since the mid '70s myself, (when I sold the c/o copy I'd bought new) during "an economic crunch..." In my defense, it was likely either that or 'something like something from the Strata East catalog or something,' so it had to go... I did play it enough that I still retain some of it in my head despite that.
Duke Pearson - Wahoo ! (Blue Note CDP-7 84191 2) Excellent album recorded in November 1964 with a stellar sextet completed by Mickey Roker, Bob Cranshaw, James Spaulding, Joe Henderson and Donald Byrd.
This reminds me of the recordings that went through generation after generation of bootlegs until, finally, the original recordings were 'officially' released; the Mingus tour of spring, 1964 being one of the primary examples that I can cite from personal experience. I'm well aware that contracts can be an issue, as well as humans, but still... I see a direct relationship between "access to the market" and a musician's ability to support themselves. While I'm kind of indifferent to their music, the Pearl Jam business model, as I understand it, seemed to me to make a lot of sense; 'let 'em have as much as they want.' I wonder how it worked out for them...
Reminds me of listening to Claude Bartee with Grant Green a few weeks back and thinking the same about him, a guy who was pretty visible for quite a while, in some ways, yet hardly ever gets any mention now, because he was "a sideman." Thanks for the Percy France link Bradd
Many thanks for taking the time to respond. I have been sitting on the fence about this set (as I often am with Mingus releases), but think I will pick this one up.
Atlantic recorded (w/o getting into details) the AEC at the Ann Arbor Blues & Jazz festival (Baptizm), at which other various folks were also recorded, as on the 3LP set and not (TOTAL ENERGY/John Sinclair released portions of the blues sets in the '90s); I've always wondered about the odds that some of the 'names' that were there but from whom nothing has since (or ever) been released actually were recorded; I've read that Sinclair had some recordings that were damaged/lost in a fire in New Orleans in the c. 1990s, but I'd doubt that if Mingus, Ornette, Shepp, Pharoah, etc. had been recorded, that he'd have had the masters; all speculative of course. Having been there, I can attest firsthand to the 'release worthiness.' And then there are the Memphis Country Blues Festivals from the late '60s, as broadcast on NET, as it was then known, National Educational Television. Now Playing: 1977 GRT edition One of my favorite 'late-early' LPs by Mariano and Akiyoshi respectively; the earliest recording I have by Marshall too. Pulled it out yesterday when getting out the Watanabe/Mariano LP.
Looks like it’s back ordered, you you can still get on the list. Charlie Haden Joe Henderson And Al Foster-The Montreal Tapes Tribute To Joe Henderson-180 Gram Vinyl Record|Acoustic Sounds
Until today, I didn't know this existed, despite having the piano trio ones for decades... Thanks, everybody.
NP George Cables - By George GC Plays The Music Of George Gershwin (Contemporary) 1987 cd One of my earlier jazz cds.
Thanks. It's likely I'll hold off getting on the list. I think this will cost more than I am willing to pay, especially as I have a cd copy "somewhere."