It’s our policy not to post all the tracks from a single recording at once. Many folks already say that they can barely keep up with with our offerings. Rather than inundate people with entire albums, we prefer to offer key tracks so that everyone can have a chance to digest, evaluate, and maybe even comment.

We’ve found a tendency in ourselves to accumulate massive amounts of interesting music from other sites but then we don’t have the time to actually listen to it. The gathering becomes more important than the experience of the music. Serious data overload. Maybe that’s just us. But when we started this site in June, we wanted to base it more on the selective http://www.fluxblog.org model rather than something more comprehensive. Every track we post is something we really love and think is worth your time.

That said, with some rare and excellent albums that don’t seem likely to come back in print, we will gladly return to them and post the remaining tracks in future entries. Just let us know what particularly interests you. This and the Ric Colbeck are two prime contenders, so stick around.

Consider that requested

And Chris, thanks so much for the extended thoughts. Shareware on promoting this stuff and creating community sounds like a fantastic idea.

great stuff though – thanks for that and for your continuing fine efforts, i check in dutifully twice a week now… ric colbeck made a fantastic start to my week (and it was the same for several others i know…)

The BYG releases were like a who’s who and there is a release out on Sunspot that may be a later version.

It’s out of print, apparently but most GUO stuff on the FMP label is still up and running.

I got a lot of FMP lps for the Tufts radio station, WMFO by trading 20 copies of a small label Frank Wright release for an FMP assortment.

This is an interesting way for a band to circulate music from the US to the EU and is called ‘export exchange’. Customs types just look at the object, i.e a cd and could care less about the content.

So you can dodge tariffs and get your cds in EU stores if you find a label there willing to do a title swap.

The Boston GUO concert brought me to the attention of one Joe Morris, perhaps the most advanced guitarist I’ve met. We worked together for much of the 80′s to make a place for challenging music in Boston, an otherwise noxious backwater half wrecked by music school orthodoxy.

So the GUO show showed me how to convene a scene and build an audience where none was.

I recently did an essay on the first phase of that and Joe’s role and will soon cover the second phase involving grant writing, presentation tips and so on that will be like shareware for striving musicians and presenters.

I also think that there are hazards in trying to organize jazz by a time period. The 70′s were mainly amazing because there were still living artists from nearly every phase going back to Eubie Blake,

The so called avante garde or free jazz, (I call it ‘Iconoclastic’), co-existed and sometimes interacted with artists from prior phases like Archie Shepp’s work with Hank Mobley on the BYG ‘Yasmina’ recording.

And all the honest artists had to contend with a miserable major label world and some of the stupidest writers ever along with a mainly witless and unhelpful baby boomer audience.

Another counterpart to GUO to seek out was a free jazz all star unit, long out of print called the ‘Celestial Sounds Orchestra’ or something like that. The crooks at BYG put two releases of this thing out and it is worth researching.

In fact I think I’ll put it on my ‘to do ‘ list and get back to you all on it.