a framework for understanding the scene that it sprang from, and maybe even something to read and re-read once you got the record home.

tl;dr I WROTE THE LINER NOTES FOR THE NEW SATOKO FUJII QUARTET ALBUM!
djpeterde.substack.com/p/satoko-fuj...

if you were lucky there might be a long essay to help you decide whether to shell out for this LP or that one. Of course you knew that the liner notes were selling you on the record — that's what you wanted! A hint of what the music sounded like,

I have the sense (while dreaming) that there’s part of my mind that is saying “why do we have to do this.” The content of my dreams is not disturbing, but part of my mind feels “dreaming itself is disturbing.”

CORRECTION: “Hallelujah” was of course one of the original LP tracks. There was a rejected performance in the 1st set.

Record collectors have learned to parse things very carefully:
“Classic” means “selected.”
“Complete masters” means “we’ve held some tracks back.” There could be many legitimate reasons for this, but we haven’t been given them.

THE COMPLETE MASTERS is a sly subtitle: it acknowledges that it is not a complete SESSION. Two rejected tracks are now designated “alternates.”
“Tricotism,” “Hallelujah,” and “Our Delight” have not been issued.

I’m glad to have this music and I’m not criticizing Don Was or compilation producer Joe Harley for releasing it - but the omission of discographical information is unconscionable.

Presumably then, “The Next Time…” is the unissued master and not the rejected take. But both takes of “Love Walked In” were rejected as were the three tracks from the 5th set. True “alternates” would typically have been listed as UNISSUED, not rejected.