Jazz for aficionados

Alex, I have Mosaic MR4-106, The Complete Blue Note Tina Brooks Quintets, it consists of 4 LP's and two booklets. Although there are many good cuts, my favorites are "Star Eyes" and "Stranger In Paradise"; Tina captures the beauty in these tunes far better than most versions I've heard, and considering all the versions of these tunes I've heard; that's saying a lot.

I see that it's not a coincident that Blue Note had all the junkey musicians, and that story tells why. "The better to exploit you my dear". It's like finding a man in the gutter, pouring gasoline over him and striking a match.




Enjoy the music.

I would not draw any conclusions based only on one article, but I must admit that story sounds sinister. If it happens to be truth, it might change my romantic perspective about the label. Would like to hear more facts, if someone knows, or opinions at least, about the subject

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.  

Frogman,  There are things in that story consistent with other musicians; like music not being released until their "dead", they seem to prefer "junkys" who they could pay a flat "peanut" sum for a record, and not pay royalties.  For some reason or another, I didn't know about Grant Greens best work, which were his early Blue Note recordings.  That might have been my fault, but I don't have an answer.

For a fact I know about them paying someone a flat fee.  Of course that was his fault, but that's the way they liked to do business; with people who are easily taken advantage of; oh I forgot "That's Business".

Miles Davis should have held a business clinic, they rarely screwed him.  Did he ever record for Blue Note?  Miles wasn't a junky for that long, he was one of those able to quit.