Jams_Runt

Far be it from me to sound like an Emusic apologist, especially since I'm mighty ambivalent about the price hike myself, but I recently heard from a jazz musician who is well respected in these parts that he has never seen a dime from emusic downloads. I was seriously considering canceling my membership after that. I hope that with the rate hike the artists will actually get paid. Up until now Emusic has been operating with a model where they offer subscribers downloads under cost, banking on the fact that not everyone will use them. As someone who has been burning through my 90 downloads a month the day I get them, I've often wondered how sustainable this model could be. Now it looks like they are going to be offering downloads at cost, which makes sense to me. I do think rolling the new rate hike out with the HEY LOOK SONY! MILESCASHSPRINGSTEENCLASHWUTANGHOOORAY!!! (and we're going to charge you more for less) was a BIG mistake. I even think I can come close to my 90 downloads if they cap the Chronological Classics at 12 downloads per album. Wait that defeats the purpose. Dammit, what a mess :blush2:

Just scored the best deal I've got since picking up That Devilin' Tune from Allen. Sidney Bechet's Mosaic select in pristine shape for $17.95 at Rasputin. Hadta brag.

Not emusic, but I just discovered you can get the complete RCA/Victor recordings of Louis Armstrong for $9.99 at Amazon's mp3 store. Posting it here, because I know emusic thread folk are fine with the downloads.

Sorry to get back so late, (just started a new job, so my organissimo board lurking time has been severely cut back.) Sure, use the quote if it helps the cause.

Just got this last week, and Jews in Hell has become my go to album when I can't decide if I am in the mood for the Art Ensemble, the Minutemen or Blind Willie Johnson.

I've been making my way through the complete "That Devilin' Tune" collection while reading the book. Damn, I'm truly amazed. Allen's really done the world a service, but I can't imagine reading the book without being able to reach for the music. I'm seven discs into the first set and look forward to getting to music I am more familiar with, but I think this collection really is a lifetime of listening, not to mention an important corrective to the usual Jazz 101 history. I'd never have checked if it wasn't for the promo, ($90 per box at Amoeba) but I am digging this completely.

I've listened to this album again a few times since I saw this was going to be an album of the week, and I certainly do not get the "Trane was alright, but he was no Hank Mobley" thing. SOUL STATION seems like a great blowing session, but certainly no desert island disc. Kelly and Bu sound like the real heroes here. I prefer ROLL CALL as Hubbard's on fire on that one. Sangry has me wanting to check out DIPPIN', but his posts always make me want to spend more money.

Wow! Sounds great!

Joshua Redman was originally being hyped around the time I was first getting into jazz, and not knowing any better I thought he was pretty cool. (I am a sucker for someone's tone, especially on the tenor, and I'll say this for Joshua Redman, he's got a great tone...) Anyway, I discovered Dewey through his live album, IN LONDON, on Palmetto, and I immediately sold all my Joshua Redman albums, as this was the real shit. I've since gone on to check out everything I could get my hands on with Dewey, and still marvel at his son's popularity, but I don't know if I would have checked Dewey out if it wasn't for his son. (I think it is funny too that IN LONDON is considerably closer to Joshua's bag than anything else I've heard from Dewey, and I wonder if I would have gotten into him if I had heard stuff like the SCIENCE FICTION sessions, or EAR OF THE BEHEARER first... As to Mehldau, I think he can be ponderously noodle-y, and you couldn't pay me to listen to him with MEHtheny, but I gotta say that to my ears LARGO was THE cocktail jazz album of the new millenium (serving th purpose I had hoped Sex Mob's SEXOTICA album would serve.). It's a pity that at the time the hype was that it was somehow Miles Davis level groundbreaking, because taken for what it was, I think it is a modest classic- if indeed there are modest classics in tasteful background music. His other stuff hasn't hit me nearly as much. Bad Plus is not really about the covers, but I can see why they do them, and I know they have acted as gateway jazz to many a friend who wouldn't go near jazz before. If you compare their halfway interesting cover of "Teen Spirit" to Herbie Hancock's Nirvana cover, I think they get points for approaching the music on its own terms. I understand that for some on this board that isn't enough, and everybody is right to think Lester Bowie always did it better. One last thing about pop covers. The version of "Ticket To Ride" from the Thomas Chapin Trio's album RIDE >>>>>>>>> than Mehldau and BP combined, as Clem might say.

Do I have to spell it out? C-H-E-E-S-E-A-N-D-O-N-I-O-N-S Onions! Never was into quoting Monte Python, but G-D DAMN I love me some Ruttles!

Oddly enough, I really love both Touchin' On Trane and Shout! but have never warmed to his KF works. I too like the wonky variety found on Shout! and found Gayle's version of "I Can't Get Started" particularly touching. The Trane album is energy music in the best sense, and to my ears a real tribute to late vintage Coltrane. For some reason the Knitting Factory albums don't sound as rich to me, only firey. I do have a soft spot for his first solo piano album, the one on KF. It's no great shakes, but it has a lot of feeling as Gayle plays some touching pre-bop piano. His second solo paino album, was fine as well, but I find myself playing the first one much more often than some albums I'd probably tell you I like better.

I've been threatening to start a thread on Michael Blake. His Lucky Thompson album is killer. So far it's only out on download to my knowledge, but it's one of the few tribute albums from the last fifteen years I'll be spinning frequently as Blake captures a lot of what made Lucky so special. I love Michael Blake's tone--round and full like a tenor player from the '40s and he can play Lucky Thompson as convincingly as he does John Lurie. Quite a talent with quite a range. The song with Lucky talking about the music industry is called "Scratch" and it has a more modern sound than the rest of the album. Amor de Cosmos is great as well, and don't forget that Palmetto has re-released Slowpoke's first album with two bonus cuts-- their version of Neil Young's "Harvest" is smokin' as folks say around here. (Slowpoke is Blake, Tronzo, Sherr and Wollesen.) Yeah, this is turning out to be a great season for Michael Blake fans.

Just ordered a copy. My first Mosaic and I owe it all to the big O! Now off to sell some CDs at Amoeba to cover my purchase.

Bertrand, That answers my question about Lonehill. I'd rather get the music from a label that is on the up and up, but I gotta admit, I am so curious about this session I'll probably get it anyway.

Okay, here's why I asked--I'm a little skeptical of Lonehill-- I thought it was one of those labels like Gambit that releases stuff in a questionable manner legally and morally, and I saw the recording was from 1966, and Grant Green certainly loses me around that time, I thought it might be one of those sessions that might only be awesome on paper. I'll add it to the list as I have some cds I want to sell at Amoeba.

It was billed as Johnny Hodges and Wild Bill Davie w/ Grant Green. Anyway, I'm intrigued. I would say that Hodges and Green both have my favorite tones on their respective instruments.

I just saw a lonehill release of a Johnny Hodges album that has Grant Green on it. I remember reading somewhere that Hodges liked Green, but I didn't know they ever recorded together. Anyone hear it, and how does it sound?

I've been skimming through the archives around here, and actually read this thread a couple days ago, buried way back in the archives. I always wondered what had happened on the Blue Note Message board as it has come up in various conversations I've seen on-line for years. Then the next day or so I find it up here. I got no dogs in the fight, just this startling true confession... I bought the first Norah Jones album when it first came out because I was such a big fan of Tony Sherr and Kenny Wollesen. Soon after I gave up on being a Slow Poke completist! ) Whew... glad I got that off my chest. Hey marketer guy, if you are still reading, here is the analogy to Blue Note signing Norah that you were looking for: If Concord records reactivated the Riverside imprint and put out the Michael Bolton Sings Sinatra on Riverside. The situation was waay different than Herbie pulling a Santana.

I gotta get tickets for the SF show! I could not be more excited about this line up. Eric Harland has really lit a fire under LLoyd, and now the geezer is playing the most extroverted music of his career. Jason Moran should push things even further. I can not wait for this album.

I've spent the last week or so reading the archives, and went on an OJC bender once my downloads re-upped today. I've got a lot of listening to do. All of these came highly recommended somewhere on this site, with the possible exception of "Speak Brother Speak" but I only had two downloads left. I'll be back with some notes after I do some listening. Jazz: Quiet Kenny (RVG)- Kenny Dorham We Three (RVG)- Roy Haynes John Jenkins, Clifford Jordan and Bobby Timmons In The Land Of Giants- Eric Kloss Screamin' The Blues- Oliver Nelson Deeds Not Words- Max Roach Speak Brother Speak- Max Roach Blue Stompin'- Hal Singer Harlem Banjo- Elmer Snowden The Quest- Mal Waldron Texas Twister- Don Wilkerson For Lady- Webster Young Bartok: Violin Concertos 1&2 and Contrasts- Kalman Burkes Concerto For Orchestra-Paavo Jarvi

Well, on the Duke Ellington thread you said it was one of your favorite albums, then a couple posts later you said you never heard it. I was confused. You contradict yourself a lot, and it makes it hard to take you seriously. As to the album. I say get it, but you may not dig it that much as Strayhorn is all over it.

Hey Bluenote, Not hateful, just curious... Is Far East Suite one of your all time favorite Duke Ellington albums, or have you never heard it?

Bluenote, I got here right around when you did, (someday it will be remembered as the great jazz message board migration of ought eight,) and I have to say that combing through the archives here has been awesome. As newcomers around here we are entering a conversation that began awhile ago. It doesn't seem that rude to me to have people refer you to previous conversations that answer your questions. If you don't have time to read a forum, what's the point of posting a question in the first place?

I don't want to sound like too much of a kiss-ass, but I'm relatively new around these parts, mainly because even being a lurker at the other board ceased to be fun. I've posted here and there, but I've been taking my time, partially because I feel like I'm getting my sea legs around here, and partly because the archives are blowing my mind. A ton of stuff I would normally love discussed has already been covered and in such depth that I don't think I could add much to the conversation, only go to my jazz collection and listen to things I've loved for years with new ears. I'm sure I'll jump in more soon, but in the mean time... damn the discussion on AOTW on "The Blues And The Abstract Truth" alone is worth lurking around here. Hell, you guys have me wrestling with Scott Hamilton, a cat I wrote off ages ago. Thanks! Um... one liner... Here we go. (Stolen from cartoonist Eddie Campbell) She: Can Jackson Pollock's art be justified? He: He's a drip.

So, um... is it one of your favorites or not?