Naturally this came to mine with all the Prince vault talk, but I think this is a bit of a different situation.
What made this so great though was the fact that it was mostly new unreleased shit. I mean yeah some of it was on bootlegs prior. But even what was was in states that had never been heard so well prior. A big part of that was Kramer.
It has to be remembered it took thirty years to get it right. Like there were some others that were decent to good. Most of those being live joints. When people tried to put together albums of shit they mostly fucked it up. For this though they really just went about treating each session as a session and making it work for what it was when he left it.
I think that approach especially so much later down the road providing really archival shit. that's honoring the history. And pretty much that's what they've done since then. Never topping that joint because you can't. But just compiling the stuff they can into decent collections.
That's how you honor a legacy by not trying to define, it but letting the music speak for itself.
█▆▇▅▇█▇▆▄▁▃ Big PEMFin H & z's "I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." � Miles
"When the music stops he falls back in the abyss."
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