You are wise to not draw any conclusions from one article, Alex. I would preface my comments (opinions) by pointing out that it was I who first mentioned Tina Brooks on this thread way back when, and then again more recently as one of the players deserving more recognition; one of the exceptions to my belief that "there is usually a reason why". It is important to remember that record labels, even great and art-sensitive ones like BN, are a business. As a business they have to consider things like whether there is room in their catalogue for one more hard-bop tenor player. All sentimentality and opinion of the article's author aside, as good as he was, Tina Brooks was not the unique and influential voice that (of the other mentioned tenor players) Wayne Shorter and Joe Henderson was; or Lee Morgan for that matter. I put him in the same broad stylistic "shelf" as Hank Mobley; but, not quite on the same level imo. And even if he was arguably on the same level as Mobley, they already had Mobley. IMO, as far as unique and influential voices go, if Shorter and Henderson are level A+ players and Mobley an A, Tina Brooks was an A- or B+. Obviously just my opinion, but that is the kind of thing that labels and producers have to consider. Add to that the insinuated personality issues and it's possible to see why things went the way they did for Brooks. A shame, but I don't believe, based on what I know of the story that there is anything sinister involved. Why would they release his work decades later? Different economic and artistic climate and fewer big jazz record labels than decades earlier. Great player.