New! Available for the first time! No jazz collection is complete without
The Millstones Of Jazz
from Bad Note
In June of 2011, renowned jazz producer/engineer/label owner Ahmet Von Gilder died after a long and distinguished career in the recording industry.
And though many critics would rather see these tapes destroyed than unleashed upon an unsuspecting public, Kincaid believes they are of such historic significance that it would be a shame if nobody made a bundle off them.
Introducing a new jazz
record label—Bad Note—and an
impotent—er, important new series of cockeyed classics: The Bad Note Millstones Of Jazz.
Initial Releases
BD0001 Snap, Crackle, Satchmo! The Kellogg’s Sessions Of Louis Armstrong—1964
By the early sixties,
gravelly-voiced Louis Armstrong had become a lovable American treasure. And
like most American treasures, he had decided to cash in on his appeal with
commercial endorsements. These audio tracks from TV spots in which Satchmo
appeared include “Tony The Tiger Rag,” “My Horn Wants Kellogg’s Corn Flakes,”
and the title tune, “Snap, Crackle, Satchmo!” Also included is “Sugar Crisp
Swing,” Armstrong’s duet with Sugar Bear—who, it turns out, really was Bing Crosby.
BD0002 Bad’Trane: The Incomprehensible Recordings Of John Coltrane—1957
Upon hearing these tapes,
Kincaid believed he had stumbled upon unreleased late-sixties
tracks by the indefatigable tenor master: the screeching, honking, atonal noise
recalled the painful avant-garde experiments of Om and Ascension. But the
date on the recording log reveals the stunning truth: the ideas behind
Coltrane’s harrowing mid-sixties experiments were first conceived during his
heroin withdrawal in 1957.
BD0003 Alto Madness! Ornette Coleman And Eric Dolphy Play The Looney Tunes Of Carl Stalling—1961
It has long been rumored
that the Warner Brothers cartoon scores of Carl Stalling were a pivotal
influence on the avant-garde jazz musicians of the sixties. With this release,
the rumors are confirmed.
BDOOO4 Miles’ Bile: The Really Blue Sessions Of Miles Davis—1965-1984
This collection of asides,
instructions and commentaries from “The Man With The Horn” shows how he coaxed
groundbreaking results from his musicians, producers, engineers, agents and
wives during his recording sessions. Included are the tracks, “Lay Off The
Reverb, Teo, Or I’ll Kick Your M*th*r-f*ck*n’ Ass,” “I Don’t Care If Jesus Wrote It, My Name Goes On The G*dd*mn*d Credits,” “Wynton Couldn’t Hold My
Jockstrap,” “Cicely? Tell The B*tch I Ain’t Here,” and “I Want To Die With My
Hands Around A White Man’s Throat.”
BD0005 Duke’s Flukes: Duke Ellington’s Duets With Jerry Lee Lewis—1958
By 1958, the devil-worship
rhythms of rock’n’roll had conquered the music industry, rendering the big band
sound a quaint anachronism. In a desperate attempt to get hep, “The Duke” met
“The Killer” for this clandestine 1958 Memphis recording session. The elegance
of Ellington and the brimstone of Jerry Lee were combustible—so why didn’t Von
Gilder build a bonfire with the master tapes and spare us such barnburners as
“Great Balls Of Ellington” and “The Duke Of Earl?”
BD0006 Impressions Of A Sex Machine: The Bill Evans Trio Plays The Music Of James Brown—1976
God knows whose brilliant
idea it was to combine the introspective pianism of Bill Evans with the
polyrhythmic priapism of “The Godfather”—but thank heavens they did! Rarely has
a woman’s beauty been celebrated as devotionally as on Evans’ version of “Hot
Pants (She Got To Use What She Got To Get What She Wants),” and we’re sure
Evans is breaking into a “Cold Sweat” in his grave over the take of that tune
released here. Special guest Maceo Parker was to have taken these tracks to the
bridge and dropped them off, but luckily, Von Gilder volunteered to dispose of
them himself.
