In 45 years of collecting, working in record stores, etc., I have yet to meet one person who gave their collection away. I must be traveling in the wrong circles.
As a radio host, I have been offered many collections. They are usually the typical size (less than several hundred LPs). Most often, to be polite, I accept them and tell them I will find a home for those I do not want. Usually, I take a maximum of a dozen or two dozen LPs and donate the rest. Mostly, I am doing them a physical favor of moving the stuff. Lately, I just direct them to a good donation place, and don't even look. As the people know my tastes, it is not junk. Collections, sometimes large collections, are donated to libraries every week, and those go directly to the library sale. Some librarians call me when this happens.
I meant that I like looking into the eyes of artists. I will often buy an album by an artist that is completely new to me, never known at all, just on the basis of looking at their eyes. It almost always works.
PSA: For those into this sort of thing (and you kno who you are) this classic slab originally issued on FMP from 1974/5 performances was just reissued, and on wax no less. It features the same quartet of Schlippenbach/Parker/Kowald/Lovens that released "Hunting The Snake", one of the finest Euro-Free titles of the 70's. Not to be missed.
I'm aware that people donate collections, and have been witness to that on a few occasions. But mostly, in another life when it was my job buy collections, not only did they not want to donate, on more then one occasion they were dismayed that their precious collection was in reality not all that precious, at least monetarily.
Well, of course no one plans to give record collections to a record store. However, they sometimes abandon them there out of frustration. I have seen many situations, regarding many things (not just music), where an owner is thrilled to give something, perhaps very valuable, to a person that they believes appreciates the item, but would not sell it at any price to someone they believes does not appreciate it or wishes to profit from it. I remember one garage sale where the owner was giving something very precious to me for free, when an over anxious wheeler-dealer shouted "I'll give you $200!". The owner shushed the dealer and said, "I am giving it to this gentleman!" Of course, I still have it and will give it away someday myself.
On the turntable, new arrival "Introducing Johnny Griffin" on Blue Note. Tone Poet reissue remastered by Kevin Gray. Johnny Griffin - tenor sax Wynton Kelly - piano Curly Russell - bass Max Roach - drums "Mil Dew" (Griffin) - 3:56 "Chicago Calling" (Griffin) - 5:38 "These Foolish Things" (Link, Marvell, Strachey) - 5:12 "The Boy Next Door" (Martin, Blane) - 4:57 "Nice and Easy" (Griffin) - 4:22 "It's All Right with Me" (Cole Porter) - 5:02 "Lover Man" (Davis, Ram Ramirez, Sherman) - 7:56
Monday Miles — Dark Magus . . . Recorded May 30, 1974 at Carnegie Hall, New York, NY 1977/2016 Music On Vinyl – MOVLP1454, Columbia – MOVLP1454
Was away for a couple of days, visiting Latvia's neighboring country Estonia. Found some time also to buy some Estonian jazz CD's. Some of the artists featured on them are completely new to me. But I will give those CD's a spin a bit later. Now it's the CD which arrived by post and is made in the other neighboring country Lithuania. And it is Sam Rivers Trio - Emanation Sam Rivers - tenor sax, soprano sax, flute, piano Cecil McBee - bass Norman Connors - drums Recorded June 3, 1971 at the Jazz Workshop, Boston.
I have the Bandcamp page for this open in a tab at home but I haven't had a chance to preview it yet. How is it?
Next two are albums by Estonian jazz drummer Aivar Vassiljev. On More For More Mart Soo - guitar Taivo Sillar - double bass Aivar Vassiljev - drums Vinnie Cutro - trumpet Bob Ferrel - trombone and Deniss Pashkevich (Latvia) - tenor sax, flute Less For More Margot Kiis - vocals Mart Soo - guitar Taivo Sillar - double bass Aivar Vassiljev - drums
I had a similar thing happen to me at a garage sale about 10 years ago. One of my dad's aging buddies was selling all his vinyl and turntable and he wanted to just give it to me but I offered to pay so he said 20 bucks for everything. A well-known,yet annoying, junk hunter and record collector just walked in while I was handing over my Andy Jackson and yells..." I'll take all your records" My dad's friend smiled the sweetest smile and held up the 20 and wiggled it in the air and said "sorry, too late." The guy was furious and followed me to my car wanting to know what was in the boxes. I told him just a total Beatles collection and a bunch of Dave Brubeck,which there was. I was a bit concerned that he was going to try and beat me up and confiscate the records. Funny thing is I still use the turntable in my garage and previously my youngest son used it for a few years. I like having it around as a reminder that people do nice things for each other and the music lives on.
Expectations is quite an atypical album in Jarrett's discography, so you may better follow the earlier advice and go back to check Charles Lloyd Quartet, starting with Forest Flower (recorded in 1966). And then I'd give a try to some/all of these titles: Trio - Hamburg '72 American Quartet - Fort Yawuh '73 (preferably in the expanded edition) Solo - Köln Concert '75 (why not indeed?) European Quartet - Sleeper: Tokyo '79 Standards Trio - Changeless '87, At the Blue Note '94 and Always Let Me Go '01 All killer, no filler.
Now playing Ivo Lille Group Ivo Lille - alto sax, soprano sax, EWI Indrek Palu - violin Rain Rämmal - keys Henno Kelp - electric bass Andrus Lillepea - drums James Werts - vocals Jakko Maltis - vocals
In most cases, with no other information on a listener's tastes or interests, when asked what music should be used to introduce an artist, it makes total sense to suggest the pieces (or the period/album etc) that the artist is best known for, or is generally held in highest regard, etc., or which earned his (or her) reputation. I would modify this if I knew some more about what moved the listener. For example, if the listener was immersed in ballads or standards, I would probably suggest Coltrane's Ballads album over A Love Supreme. This, of course, does not always mean the biggest seller. I'd never suggest Ellington's Satin Doll. If I knew a listener was deeply interested in history and likely to explore an artist in depth, I might tend to suggest starting at the beginning, but typically of their career as a leader, not as an apprentice sideman. I almost always suggest studio recordings, at least for pre-1960 material, so that low sound fidelity does not discourage listening. No Charlie Parker bootlegs. If the listener said, "It must be stereo, I cannot listen to mono." I'd say, "Sorry, I cannot help you"
Now one of the most known Estonian singers Sofia Rubina and her album Where It Begins. Where It Begins, by Sofia Rubina
