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In Reply to: RE: Hank Mobley...by request posted by Rick W on July 23, 2017 at 09:41:51
"...no artist on record labels like Bluenote or Prestige had the authority to decide when to record/release an album."
Perhaps not authority, but that didn't necessarily stop them from bugging the hell out of the label owners/producers to do recordings. According to Gene Lees, who was very close to Bill Evans, the pianist constantly tried to wheedle sessions at Riverside to generate cash to satisfy his habit. Frankly, I don't have any information to support the idea that Mobley did that, but it's not beyond the realm of possibility.
It's clear that Blue Note had a sizable catalog of unreleased recordings that didn't see the light of day until years after the sessions went down. I have no idea what the reasons were for that situation. It may simply have been that there were quality concerns or that they just had too many similar recordings on the market already. (Obviously not all of these were Mobley's.) And apparently some of it was related to the sale of the label. But this does make me wonder about how at least some of the sessions came about in the first place.
P.S. Not to get all nitpicky on you, but it is Blue Note, not Bluenote.
Follow Ups:
Considering that most of Blue Note's unreleased albums were very good - Mobley's A Slice Of The Top and Third Season for example - I gotta wonder if the label was saving some of 'em to capitalize on when musicians died.
That seems to be what Miles thought about Columbia. He had a long battle with that label over unreleased recordings. He refused to record new stuff until they released what they had in the can, and ended up changing labels.
I seem to recall reading somewhere that the label thought at least some of the recordings were not typical of the artist and therefore would not get a positive reception. And, too, I think there were those that were a whole lot like others and were held back for later release. But when Lion sold the label-to Liberty if I remember correctly-that company really screwed things up and the plans for later release were never followed.
other previously unreleased Blue Notes, including stuff by Lee Morgan and Jackie McLean among others.
I'm sure that's true, but there were quite a few that didn't get released until Capitol bought the label as I recall. But I'm relying on memory here, which these days is sometimes faulty.
Let's just be glad it happened, however it did.
I am a big proponent of Blue Note. This is still a thriving label under the helm of Don Was. As above, smack, was very relevant in the 50-60's among the Jazz players. You would have been hard-pressed to find a player that did not use it? Really took a toll on Chet Baker and Art pepper.
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