I don't think you mentioned that Sunset to Dawn and The Free Slave were produced by Don Schlitten, who co-founded Muse with Joe Fields after a brief partnership at Cobblestone. They split in 1974, when Schlitten launched his Xanadu label. During the 60sz Schlitten produced a bunch of great albums as director of A&R for Prestige, where Joe Fields also was working.
I did not. I’d planned a deeper dive, but the post was starting to get longer (and later) than I was happy about, so I decided to cut and post. It wasn’t my intent to omit significant info, and had I realized you were on Substack, Ted, I would have embedded your ‘stack into the post. Apologies —I’ll get you next time. Great notes! Now…if we could find the tapes to the Norman Connors live release on Cobblestone that’s on my holy grail list for reissue: https://www.discogs.com/master/2757185-Bartz-Henderson-Connors-Dance-Of-Magic-Live-At-Nemu-Jazz-Inn-1
I only think I’ve ever read the liner notes on a dozen or so cd’s I’ve purchased and that’ s a few thousand over the years. Far too small type often irritatingly with insufficient contrast to background color and all to often crammed within a ridiculous graphic layout. Like eating crab, too much effort for precious little reward.
With vinyl albums , that’s different. Nothing compares to pouring over a large( gatefold ) sleeve and reading about the recording or the artists past and inspirations. The format allows the words, room to breathe.
Lastly, Murial. I must admit I stumbled upon her music by chance ,having previously never heard of her. That’s the wonderful thing about the umbrella of jazz… always new discoveries. The album, Union was magnificent and upon that I purchased many others in her catalogue. Unfortunately I found them a tad too similar. Clearly nestling within spiritual jazz, I found I could almost predict the music I was about to hear. I still put Union on the hifi , the others not so much.
I'm baffled by the ever-decreasing font size decisions, especially for artists whose audience is buying cheap reader glasses at CVS by the dozen and leaving them on every surface in the house.
I do hope you'll consider giving Muriel's latest a chance. You'll find the second track to be quite different, and the album overall is a winner!
I always worry when a column here sounds like a press release. Aside from the Grossman recording, which to my ears is essentially glorified smooth jazz, please be aware that Joe Fields was a crook who ripped off musicians. I worked for a famous record producer who had stopped working with Fields because of the way he handled the business. So, great music, but let us not glorify the crooked guy who put it out.
I don't think you mentioned that Sunset to Dawn and The Free Slave were produced by Don Schlitten, who co-founded Muse with Joe Fields after a brief partnership at Cobblestone. They split in 1974, when Schlitten launched his Xanadu label. During the 60sz Schlitten produced a bunch of great albums as director of A&R for Prestige, where Joe Fields also was working.
I did not. I’d planned a deeper dive, but the post was starting to get longer (and later) than I was happy about, so I decided to cut and post. It wasn’t my intent to omit significant info, and had I realized you were on Substack, Ted, I would have embedded your ‘stack into the post. Apologies —I’ll get you next time. Great notes! Now…if we could find the tapes to the Norman Connors live release on Cobblestone that’s on my holy grail list for reissue: https://www.discogs.com/master/2757185-Bartz-Henderson-Connors-Dance-Of-Magic-Live-At-Nemu-Jazz-Inn-1
I love CD liner notes- usually if I get a new thing I read the notes before I play the discs!
I second that emotion!
Already Here is giving me the chills. I’m pacing back and forth…Jebus.
I only think I’ve ever read the liner notes on a dozen or so cd’s I’ve purchased and that’ s a few thousand over the years. Far too small type often irritatingly with insufficient contrast to background color and all to often crammed within a ridiculous graphic layout. Like eating crab, too much effort for precious little reward.
With vinyl albums , that’s different. Nothing compares to pouring over a large( gatefold ) sleeve and reading about the recording or the artists past and inspirations. The format allows the words, room to breathe.
Lastly, Murial. I must admit I stumbled upon her music by chance ,having previously never heard of her. That’s the wonderful thing about the umbrella of jazz… always new discoveries. The album, Union was magnificent and upon that I purchased many others in her catalogue. Unfortunately I found them a tad too similar. Clearly nestling within spiritual jazz, I found I could almost predict the music I was about to hear. I still put Union on the hifi , the others not so much.
I'm baffled by the ever-decreasing font size decisions, especially for artists whose audience is buying cheap reader glasses at CVS by the dozen and leaving them on every surface in the house.
I do hope you'll consider giving Muriel's latest a chance. You'll find the second track to be quite different, and the album overall is a winner!
Raising my hand for a reissue of Lester Bowie’s Fast Last!
I always worry when a column here sounds like a press release. Aside from the Grossman recording, which to my ears is essentially glorified smooth jazz, please be aware that Joe Fields was a crook who ripped off musicians. I worked for a famous record producer who had stopped working with Fields because of the way he handled the business. So, great music, but let us not glorify the crooked guy who put it out.
I wish Grossmann could travel to the US to tour more frequently, she and her band are extraordinary.