shawn·m

Just great. I’m gonna have white-trash nightmares for weeks.

Yes, it’s the Columbia series. Alright then, Vol. 2 followed by Vol. 5 it is! Interesting what Genya said. Especially since it flies in the face of self-indulgence. Maybe it’s a kind of defense mechanism: Keeping the world at bay by holding on to a shred of pre-fame reality? I’ll have to get sls’s attention on this thread…

Chris, I picked up The Complete Recordings Vol. 1 and I’m enjoying them immensely. It’s doubtful that I would’ve given Ms. Smith a serious listen if it weren’t for your “Bessie.” By the way, did you happen to notice the other “BS” review was stripped from Amazon? Whew! I no longer feel the need to post a user review just to provide counterpoint. My wife thought it unlikely a strong-willed individual, like Bessie, would submit to Gee’s mistreatment. I, on the other hand, was dumfounded as to how the sisters could destroy the memorabilia trunk’s contents. I suppose both cases underscore folk’s unpredictable behavior when family is involved. Can you recommend which of the remaining volumes will offer the most variety by comparison to Vol. 1?

Congratulations! And when you run across a kid that’s thinking of quitting band, please do what you can to talk him out of it. Damn, I regret dropping music.

Waiting Game > Roots and Herbs = Sonic Boom + New Soil > Leapin’ and Lopin’?

It seems odd that AAJ and Organissimo would be hit within two weeks of each other. Assuming it was a direct attack, I wonder if the hacking bastards hate everything jazz, or just Stanley Crouch. Well, here’s to hoping the chumps find new meaning in life, once behind bars with muscle-bound Bubba.

Banjo? Toss the band a chordal monkey wrench and wouldn’t they have to change their name to Quartestosterone Out?

Because if there ever was a loaf, somebody seems to have pinched it.

Yes, that’s the one. So I could have added to two existing threads instead of starting a new one?.. I’m just trying to make an obscure point about parallel evolution. Yeah that’s the ticket, now where does my wife keep her painkillers?

It may not be a scholarly work or much of an in-depth documentary, but taken as jazz oriented entertainment, I didn’t think it was so bad. Hey, I’d rather watch this than 95% of TV’s general fare!

No question about overlap and influences, and I think we’re talking about a prime example. What specifically got me thinking about this was Parker’s Savoy/Dials, Massey Hall and The Messenger’s Café Bohemia. Ok, hardly a definitive selection to try and generate/differentiate genre labels from, but still… If Parker’s Savoy/Dials is bebop and Blakey’s Café Bohemia is hard bop and Massey Hall’s overall character is, to my ears, so very much closer to Blakey’s work than Parker’s early stuff, then I can’t help but wonder. Not that I’m concerned about labels, you understand, it’s just that I find the evolution and it’s credit interesting. I suppose it’s too early to ask when more Quartet Out stuff will become available?

I have Plays Parker included in Mosaic’s set (some of my favorite Mobley; sometimes he has trouble keeping up, but it’s a kick to hear him in a piano-less setting), but Wow! I didn’t know about that one! See, there’s that label-trouble again. I tend to think of Horace’s work as straddling the line between hard bop and soul jazz. I do take your point about Parker and Gillespie’s virtuosity, though.

Hmm, maybe so. That’s one of the things that make genre labels so pesky; they conjure different archetypes and boundaries for each listener. For me, there’s such a strong tie between Massey Hall and Clifford, Miles and Blakey that they all fit nicely under the same heading. Is the mid-50s work of Clifford, Miles and Blakey more bebop than hardbop?

Jeez, my apologies to wesbed. I wish I’d seen this thread before starting something similar.

Maybe I’m about to enter label hell, but… It wasn’t until recently that I started getting into “bebop.” It was just too frenetic for my taste, but understanding and appreciation do change. I already had Savoy’s 3-CD collections of Parker and Gillespie, but when somebody asked the board about bebop, and The Quintet: Jazz At Massey Hall was overwhelmingly recommended, I went out and picked it up. It came as a surprise. All this time I’d thought Brownie/Roach, Art Blakey and Miles were the fathers of “hard bop.” At least, that’s what I kept reading. But from my non-musician’s point of view, Massey Hall seems to be archetypical hard bop preceding the others’ recordings. The treatment of “All the Things You Are” and “A Night In Tunisia” make for good case-in-points with some minor chord movement and their relatively restrained solo contours. Of course, Max Roach is on Massey Hall, but I can’t help wonder why Parker, Gillespie and Powell don’t take top honors as the originators of hard bop. Any ideas?

I always assumed Ruth Lion was passing by when this photo was taken.

I kept missing broadcast appearances so I finally just bought the VHS. But then I happened upon the last 15 minutes of Part One while channel surfing recently. It seemed to be a different edit and contained material I didn’t remember seeing before. Are there two or more different versions?

“Every year, by assisting in criminal trials and initiating civil litigation, RIAA wins hundreds of guilty pleas from, or convictions of, music pirates, plus scores of settlements and judgments. RIAA is also pioneering copyright enforcement on the Internet. Since 1998, RIAA has settled five lawsuits against Internet music pirates that violated federal copyright laws by reproducing and distributing copyrighted sound recordings.” --RIAA During the years mentioned above, I think the war on drugs was more successful. I wonder if the RIAA is entering a world of pain? Yes, it has the law on it’s side (in the case of some amnesty provisions, maybe not), but from what I gather, pirating is so inexpensive, easy and widespread that the RIAA could be caught in its own version of Viet-fuckin’-nam. Then too, the prosecution of file-sharing copyright infringement seems to generate such paltry winnings that serious effort on RIAA’s part must be financially impractical. The RIAA is now in a far-reaching, high-profile battle and an overall loss could damage its credibility and clout from which it could take a long time, if ever, to recover. Well, maybe if the RIAA could make a dent if it forced internet ISPs to block sites in a timely manor. But I’m not sure even this would do the job.

For what it’s worth, I’m not terribly concerned about copy protection per se. As b3-er and couw point out, there’s nothing to prevent analog copying followed by digital conversion. It wasn’t long ago that I did this with Crescent and Love Supreme while playing with the stereo spread –heresy, I know, but that’s another story. True, it adds a step to the process and it won’t deliver a perfect digital copy, but it served my purposes well enough. On the other hand, I have no intension of ever buying a disk whose copy protection scheme relies upon faulty or missing data: I’m not thrilled with the idea of working a player’s error correction circuitry any more than necessary and I wonder about such a disk’s longevity. Depending on the kind of copy protection and how prevalent it becomes, the value of older unaffected disks certainly could increase.

NYU being rousted by elite MP3 SWAT teams will make for great TV. Think I’ll even record it!

Congratulations, and a piece of advice I wish I could remember to follow: Bring her flowers for no reason –and for the rest of your life.

Hmm… I have but one disk of Brecker’s, so I can’t readily make the connection. It’s an interesting observation, though. Especially since Redman has a reputation for being cliché free. Maybe it’s a parallel evolution kind-of-thing in response to Metheny’s playing?

Two days? The server must have reached critical mass.

A cover every mother should love.

If Mosaic were to do a set (too big for a Select, I think), maybe we’d finally get a chance to hear the rest of the material recorded during the Tokyo Live tour. To tell the truth, I’m surprised BN is content to leave the unreleased recordings sitting in a vault and Tokyo Live Vol. II hasn’t yet been released. I guess the first volume must not have sold well. *Edited ’cause it didn’t read quite right on the first go.