Jump to content

WD45

Members
 View Profile  See their activity

  • Posts

    2,496

  • Joined

  • Last visited

  • Donations

    0.00 USD 

 Content Type 

Posts posted by WD45

  1. Bethlehem label being reissued in US

    in Re-issues

    Posted

    which ones did you order, clunky?

    and can i not get some love for 'california suite'? it's really a great date.

    forgive the uk parlaphone artwork....(!)

    Absolutely. I love Mel Torme, his Bethlehem stuff in particular.

    And, ftr, just as you said you're tough on piano trios, I really don't like male jazz singers.

    Same here. Torme on Bethlehem is about as good as that genre gets.

    Agreed. California Suite is a delight, and the rest of the Bethlehem material is solid, especially the stuff with Marty Paich. Lulu's Back in Town!

  7. Tunes you wouldn't expect some artists to play.

    in Miscellaneous Music

    Posted

    Jimmy Ponder - 'The creator has a master plan'- on 'Smething to ponder' (Muse)

    Gloria Lynne SINGING Kenny Burrell's 'All day long' (with her own words) on 'This one's on me' (HighNote)

    Tommy McCook playing a Reggae version of 'Take five' (from 'Instrumental' - Justice) on FLUTE!

    Buddy Guy playing 'Moanin''

    Baby Washington singing 'Doodlin''

    Harold Mabern playing Earth Wind & Fire's 'Fantasy' (Venus) - and on the same album, 'Lollipops & roses'; Donnie Hathaway's 'Harlem dawn' and the Sesame Street theme.

    Africando singing 'La vie en rose' on the album 'Baloba' (Syllart)

    Coumba Gawlo singing 'Fa fa fa fa fa fa' and the title track on the album 'Pata pata' (RCA France)

    The Mar-Keys playing 'Sack o' woe' on their first LP 'Last night' (Stax)

    MG

    Buddy Guy was interviewed on the Tavis Smiley Show recently. He talked about how he listens to mostly gospel and jazz, along with some country and western, but very little blues . For him, it is about learning how to incorporate the unique bits from others' playing into his (stealing licks, as he put it.)

    He mentioned being happy when his sets used to get over in time for him to go see Gene Ammons play.

  8. Your Top Ten New CDs for 2012

    in New Releases

    Posted · Edited by WD45

    Top Six Favorite Records Released In 2012

    1. Emptyset - "Medium" Recorded in an abandoned, unfinished 19th century British mansion. Huge, oppresive, and delightful. Brings together my love of history, recording, and abstraction.

    2. Oneohtrix Point Never - "Rifts" Five LPs of mind-melting synthesizer experimentation. This cat would have been at home with the Germans making this type of music in 1972. Hypnotic, texturally lush, and possibly self-indulgent (in the best way, of course.)

    3. Andy Stott - "Luxury Problems" Mr. Stott keeps making music that sounds quite unlike anything else before it. Imagine if someone produced a Sade record under the influence of Bauhaus architecture and codeine. Unsettling and inviting at the same time. Time stands still when you play it.

    4. Death Grips - "The Money Store" Parts of this record still scare the hell out of me. It's so intense that I can only liken it to standing in front of a blast furnace. NSFW in a number of ways. Sonically and lyrically. These cats would have Lil' Wayne weeping in the corner.

    5. CAN - "Lost Tapes" Where do I turn when I wish to hear a man chant the lyric "Are you waiting for the streetcar" for ten minutes? This amazing set of outtakes and non-album cuts from these German giants of weird rock, of course.

    6. Josh Berman and His Gang - "There Now" Mr. Berman helped me with a question about a Gerry Mulligan record at the Jazz Record Mart in 2011. In 2012, he released this thoughtful and exciting record of jazz music. It's lighthearted at times, freely exploratory at others. Just what I needed, actually.

    I even made a YouTube playlist with a track from each record.

  16. Complete Collections?

    in Artists

    Posted

    Yeah, I wouldn't claim to "own" copies of anything downloaded. That stuff - and there's not a lot of it, for me, comparatively - I don't even consider to be a collection. They are just reference copies. Some archivists might disagree with me, but literal format matters.

    Agreed - it's easy enough to download a torrent of many artists' complete discographies in a couple of clicks. (Legality notwithstanding.)

  24. blue note launches spotify app

    in Miscellaneous Music

    Posted

    I'm already tired of condom commercials interrupting my jazz listening.

    It's like going to the bathroom at a club!

    $10 a month to lose the commercials. I'd rather put that toward adding to my collection and not sink $120/year and walk away with nothing. And, if $10/month is the introductory rate, eventually it will rise up in cost just like an eMusic membership. They'll make it $25/month and start limiting the number of listening minutes. There will be extra charges for "lightning fast, guaranteed streams" and other bullshit. No thanks. I'll take my guaranteed commercial free iPod, loaded with tracks off MY compact discs and vinyl.

    Prices have come down on these services, even as stream bitrates (and therefore, sound quality) have gone up. Rhapsody used to charge $14.99/month, only for desktop use. Rdio charges $4.99 for the same. $9.99 for download access and streaming on a mobile device. The catalog keeps growing, too.

  25. blue note launches spotify app

    in Miscellaneous Music

    Posted

    This is how music will be distributed in the future. Well, it is how music is distributed now, so we may as well get used to it. The music industry never existed to support artists. However it does need to sufficiently incentivise artists so it can't pay them nothing. Recorded music though is not the only product of music-making and has only occasionally been the main source of income for musicians. Payment to musicians is in any case a fetish of this board since copyright laws were deliberately framed to keep the main rights in the hands of composers and not performers. In the case of per-play rates, the composers and performers get their contracted share. It is the model which is different - you have to get listeners and plays to generate revenue. The exposure on Spotify is a huge benefit to any performing artist. Spotify also removes the artificial barrier of the LP/CD days when you mainly had to pay before you heard anything, an all-or-nothing approach. Perhaps many people do not need voluminous access to music as people on this board mainly do. But the archive now is available to anyone who wants it, so in terms of access as well as lifestyle Spotify is a huge move forward. What BfB's app shows is a glimpse of the future, when the archive will be navigable by all sorts of maps and threads. Eventually all sorts of metadata will be linked to the musical material. Video formats will likely be routed the same way. I think we'll never look back and that we'll see the age of limited access and per-album rather than per-play payment as a dark age.

    This sums up my thoughts on this quite nicely.

    Technology is hastening the demise of the pay-once-for-the-object model. It's clearly a disruptive innovation. And one that will alter the very act of consuming music. (It already has.) The cat is out of the bag, so-to-speak.

    9EDC5BCC14254CB7829D822F5AA74222.jpg

×
×
  • Create New...