David Ayers

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Everything posted by David Ayers

  1. Raphe Malik

    I dusted off my copies of 21st Century Texts (FMP) and The Short Form (eremite) last night. I found these interviews with Malik today, at AAJ and Opprobrium. I don't know if there is much love for Malik-led sessions on this board (I searched and found a smattering of references pro and con). I find him enjoyable but finite, by which I mean I like him but his playing only expresses certain things and the players he appears with are fluent but too frequently border on bombast. Other opinions?
  2. More on Pujol from Jazzwax

    If anyone wants to go down the rabbit-hole of the history of the 28-year copyright in pre-1972 sound recordings (I don’t!) here is a place to start with useful summary and links: https://blogs.loc.gov/now-see-hear/2019/02/copyright-breakdown-the-music-modernization-act/
  3. In the UK at least. according to europadisc.co.uk
  4. Ornette and Joe Lovano (supposedly)

    Anybody know what this is? https://open.spotify.com/album/2GUaxvV3Ziln8TLjK7YLIz?si=lQagfgkhQ6aIe9-zcBHijw
  5. Ornette and Joe Lovano (supposedly)

    You’re right! Thank you.
  6. Promising? I’ve never got into Nucleus but… https://www.repertoirerecords.com/artists/nucleus/nucleus-live-at-the-bbc/
  7. Sales and Distribution of Jazz LPs, circa 1948-1964

    I am not aware of any academic work on this topic, but that is what is needed. In literary studies we have for a long time paid attention to questions of readership, distribution, advertisement and cognate areas. Influenced by the once entirely separate field of the history of the book, we have paid increasing attention to publishers, booksellers, bookshops, nd other sites and mechanisms of distribution. Literary studies is a heavily resourced field. Music less so, not least because a large part of music studies is practice-oriented (performance and composition), the technical barrier to entry is high, and the scholarship of the kind which would be useful in answering the OPs question is thin on the ground, not least because there is more fundamental work yet to be done on basics as far as the last century or so is concerned. This work - or some of it - will I think eventually come, in the same way we understand to some extent at least how earlier markets for music functioned (e.g. Handel, Mozart) and, while I haven't checked it, I imagine we have a similar level of knowledge re. big names as to the personal finances of e.g. Bartok and Ellington. Now I don't follow music scholarship very much and there may be more out there than I suspect, but I should think there is much further to go in the study of venues, publications, advertising outside specialist publications, and we probably haven't made much of a start on jazz producers, record stores, etc. I daresay there is more of this kind of thing on e.g. rock, punk, pop. All that said, I haven't done much of a search on this, and if people are aware of good sources it would be useful to see the references posted here.
  8. Women in jazz/improv

    Been spending time with two contrasting recordings recently and wondered who else people here might follow. So on Spotify I have been rediscovering Pure Fantasy by Barbara Thompson's Paraphernalia. I bought the original LP and no longer have it. It made it to CD as Nightwatch, as I discovered only recently. Jazz-rock with a lot of interesting flavors. https://open.spotify.com/album/5niyGUY07Vn5nKu5ozYP9K?si=nfAfIJruTnCf5GLMyWAegw&dl_branch=1 Much more recent and in a contrasting vein, I've been listening to Sarah Gail Brand 's Deep Trouble with Paul Rogers and Mark Sanders, which I got from Bandcamp. Such a beautiful, clean and subtle trombonist, fantastic group, and a lovely close recording even though it is recorded live. https://sarahgailbrand.bandcamp.com/album/deep-trouble Outside the very well-known female vocalists, who else do people here recommend?
  9. Women in jazz/improv

    There are four terrific trio albums - two most recent on Intakt, two earlier on Jazzwerkstatt.
  10. Women in jazz/improv

    I’m going to add Silke Eberhard. Unfailingly interesting, immersed in classic modernists (especially Dolphy) but very much her own voice. She’s been mentioned on the board a couple of times but I’d have thought she’d have a wide appeal here in terms of people’s tastes.
  11. Women in jazz/improv

    Yes some labels have moved on this. By opportunities I was thinking leader or duets.These UK researchers produce some depressing analysis and statistics but suggest that the largely older male audience for jazz can influence the culture with their concert attendance and purchases - which is what I’m going to try. See how long I last!
  12. Women in jazz/improv

    I see. So where does she express the views which you attribute to her? Why stifle this topic? There are currently active record labels which have rarely or never given opportunities to women. The most significant exception is Intakt. I wonder what they might make of this discussion? I'm not even asking people to embrace feminism and feminist cultural theory (though I think they should), I just asked which women in jazz people find interesting - whether currently active or from forty years ago - or both.
  13. Women in jazz/improv

    Here’s what Léandre has actually said “I was looking to create new music, my music, in my century, plus I am a woman, not a man. I had to find my music, my feeling, my sounds. I don’t want to play like a man. Men have examples to look up to, not only in music, but as a woman, we don’t really have big figures on podiums. The only figures in front of me were men. I had to find myself, as a woman, in a creative way. All the world is built by men, almost everything. Women have to do somethings by themselves.”
  14. Women in jazz/improv

    Well, this is the recommendations thread, and I still think it's ok to ask for recommendations of recordings by women. I wonder why the very idea of this thread arouses objections?
  15. Women in jazz/improv

    One British stalwart was Kathy Stobart. That’s going back a bit. More present in my lifetime, Annie Whitehead. Now even I’m just listing names when I started out trying to see what people would recommend…
  16. Women in jazz/improv

    Angelika Niescier took some time to break through but is now more widely known through recordings on Intakt, not least her most recent with Alexander Hawkins. That's a fine record which shows sides of her that her leader dates don't. Let's mention too that Alex has made terrific records with Tomeka Reid and - to outstanding effect - as co-leader with the polymathic Elaine Mitchener. So that's one 'white guy' who knows where to look for interesting collaborators.
  17. Women in jazz/improv

    I guess like you I knew most of these names from recordings and concerts. Does anyone really not know any of these musicians? FWIW there are quite a lot of names missing - some of them eminent indeed. I think it's a topic worth active review. On the topic of men bringing women into their projects except as singers it occurs to me the 'avant-garde' got off to a particularly shaky start, with Coltrane maybe the first notable exception.
  18. Women in jazz/improv

    Women in Jazz: Music Publishing and Marketing Seems some people think there might be issues.
  19. Women in jazz/improv

    Here's how Nicole Mitchell sees it. "So yes, there was definitely women stuff, because first of all, there’s never enough. There’s never enough gender balance, and that’s the real issue. And that’s what I work to solve in my own projects. There’s a lot of great male musicians that talk a lot of stuff about being progressive and supportive of women. But if you look at it, what are the projects they put together? Who do they hire? Who do they bring in to do their music? Have they actually brought in anyone except other white dudes? That’s, to me, what I think people don’t take seriously enough, and that’s really where the change happens." https://nationalsawdust.org/thelog/2018/01/15/nicole-mitchell-science-fiction-and-sound-strategies/
  20. Women in jazz/improv

    There’s a 2000 monograph on the topic by Sherrie Tucker. There’s a helpful discussion in the Wikipedia page on territory bands (in “History” section - scroll down).
  21. Women in jazz/improv

    In all the years of this board, have we ever discussed this topic? In fact something does happen when we bring these names together. Compare and contrast e.g. the history of modern jazz in the fifties and sixties, or the treatment by their contemporaries and by jazz historians of last century of the female territory bands. And in fact I’d be surprised if anybody here knew all of these names - I’m surprised how many are new to me. I see Wynton is still holding back the tide at LCJO - I’d like to see their diversity policy.
  22. Women in jazz/improv

    I am quite surprised that there are some names here that I have never come across! The recommendations of specific recordings are the most useful things from my point of view. Keep it coming!
  23. All Things Hat

    Assuming that they can sell CDs at all, which judging by this reissue program they can, it seems like a good idea to pull out these two titles. I hope that we can avoid another “is it legit?“ debate…
  24. Owning multiple copies?

    KOB is like an infection. I own multiple copies and I don’t even care for it. I’ve got quite a lot of duplicate Miles even though I’ve generally never been that interested in him - apart from one track (!). Also, I don’t sell vinyl of things I ‘replace’ on CD. That’s not real duplication. Also, CD box sets usually break up individual albums so I don’t see that as duplication - whichever you buy first. I think I’ve got just one identical duplicate - for some reason I’ve got two copies of the original Three for Shepp. I wonder why that last one never saw much CD release?
  25. 666 is already on its way to Mordor