Thread by @davereaboi

So much of how I learned about which records were important in jazz came from record companies’ reissues in the 90s—and it was this way since the early days of record sales. Reissue decisions give a skewed view of an artist’s catalog based on what’s released.

Growing up, the Ellington RCAs we’re constantly reissued, but the mid-to-late 1930s Columbias were basically unavailable on disc. (And they still are.)

What does this mean for music literacy in the age of streaming? We’re still at the mercy of the record companies’ decisions about what to reissue and how, though there are great companies dedicated to re-evaluating and re-releasing old music.

This is righting the ship a little bit—but for people who don’t buy records or get high-def digital downloads?

Has technology created a new type of casual listener, who just takes what they hear on streaming services and doesn’t explore an artist’s work more deeply?

Is this a real change, or does this type of streaming product simply replace terrestrial radio station listeners of decades past?

This thread was inspired by listening to Kenny Dorham’s brilliant final recording on Blue Note—and wondering why I didn’t hear about it years ago.