Donald Byrd The Third World Rar
Rudolfon October 25, 2014 at 10:36 said:For completeness’ sake: when Savoy started the new sleeve wrapping system, the one leaving a white rim in front, the pressings became non DG. However in some cases the original first pressing blood labels (blood as per the definition of my late friend William “Red” Carraro, connoisseur par excellence of the Savoy label) were still used before switching over to oxblood (love this one Andrew, reminds me of my ages old brogues sold as oxblood).So the sequence is:1st DG blood, without sleeve rim;2nd Non DG blood, with sleeve rim;3rd Non DG oxblood, with sleeve rim.I have examples here but cannot send pictures since the photographer is travelling. I am a physician as well like our good friend Dottorjazz, the color of blood actually varies greatly depending on the oxygen content in it! It could be the color of my label and even as dark as the one in Vinyl House UK’s listing 🙂 both would be accurately called “blood” color.So I am still a bit confused.
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Going through Popsike most people that use the term “blood color label” are not showing a picture, but some mention the silver lettering. To add to my confusion the lettering on my copy and Vinyl House UK’s are both silver.I do not see a 1A on the label on my copy or on Vinyl House UK’s. The matrix info is identical to his, with the hand written RVG.I will take a picture of my label tomorrow without flash for now the flash is throwing off the color balance. Hi Andy:Just a minor note regarding the session credits on the cover.None of these “proof-reading” mistakes you see so often on Jazz and Blues releases from the ’50s and ’60s are actually errors or gaffes. They were pretty much deliberate. Remember, these people (jazz session men) were extraordinarily promiscuous, legally speaking and most of them cross-pollinated each other’s sessions as a matter of course. They would sign exclusive deal with label “X”, get some decent down payment, cash in, spend their money on wine, women and song (or, more accurately, on heroin, booze, cigars, women and song) and then, a few days later – when the cash ran out – they would be offered a session job from another artist “Y” or label “Z”.
Exclusivity clause. The solution? Take a pseudonym.
The new problem: if you take a pseudonym, nobody knows it is you, so your presence on the session becomes pointless. The new solution? Grab the silliest, most transparent, Ooops!-sorry-the-dumb-label–just-misspelled-my-name-on-the-cover pseudonym you can think of that even a retard can see through. That’s how Wynton Kelly became Wynton Kelley (or Wynt Kelly, or Wynt Kelley, depending on which label he was sleeping with at any given point), Sam Cooke became Sam Cook or Dale Cook, etcetera. Off the top of my head, I can think of probably 50 or so similar “mistakes”.There is a very interesting article on the subject here:Although the article lists only the distinctly opaque pseudonyms, those that are relatively unrecognizable. I reckon that “transparent” pseudonyms outnumber the “opaque” ones by a chunky margin.No, it’s not like people in American music business were illiterate.
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They were merely greedy and dishonest. Correction: They ARE merely greedy and dishonest.All the best, Andy — and Happy New Year to you and your bloggsters.Bob.