jcam_44

So it again comes back to people hate Kenny G because he is popular and gets the notoriety that people believe others should get.

How so? Because he made music that was marketed and made popular? My comment was in regards to being labelled jazz. Of course an artist wants to be popular. That is giving the masses a lot of credit since you don't expect the masses to be well informed.

This all sounds like people hate Kenny G because he’s getting recognition he didn’t ask for.

Thanks Dub

There is an Asian country that plays a Kenny G song when it’s time to go home. I don’t know the song but I think stores and malls play it to signal time to leave.

I agree with that Rooster and so does Kenny.

I like Kenny G as a person. People take him way more seriously than he takes himself. I've always wondered if it was jealously or just that he's the easy target. He had a running appearance on the Le Batard Show that was great. I often think people dismiss Kenny G before they even listen to what he has to say, this interview being the example. His discussion about recording vs live playing is an interesting philosophy. I don't actually listen to his music but his philosophy on artistry is fascinating and honestly commendable.

Darius Jones is a fucking genius

I’m not the target audience for this so it doesn’t effect me in anyway. I bet Stan would roll back over if he gets royalties off this release though.

Oakland Athletics: I’m expecting this to turn into a full tear down and rebuild. Maneas, Olson, Chappy, and my favorite Canha all will be gone amongst many others in conjunction with BoMel going to manage the Padres it’s going to be a rough stretch. All this coupled with the issues getting a new stadium at Howard Terminal I’m not sure what to make of my team.

My brother had a breakthrough case. Lost smell and taste and had a headache.

Try downtown music gallery, I think that’s where I bought it.

USPS is awful

That Jesse Sharps LP looks interesting considering it is source directly from the tapes where the cd was supposedly a 4th generation DAT. I’ll have to revisit the cd to see if an upgrade is in order.

If anyone find the cd for sale let me know.

I don’t generally own multiples of an album but started thinking about this due to a recently acquiring multiple copies of Bill Withers - Live at Carnegie Hall as well as the recent discussion about the Lee Morgan complete Lighthouse what to do with the 3CD version. I know some collectors own multiple color variants of records, but that seems to be something new vinyl collectors do. I’ve also seen some collectors want every variant, for example Japanese releases of a specific album. I’ve accidentally bought something I forgot I owned but will usually give that away. In the case of Bill Withers I had an old original copy that is in rough shape so I purchased the Music On Vinyl release when I found it on vacation. Then ended up getting the Mofi release because it was a good price. This album holds nostalgia for me because it was on repeat in the car as a kid. Not sure what I’ll do but am curious how others approach their music collection. Does anyone get multiples or buy stuff on multiple formats?

Charley Crockett - Music City USA (45rpm) I've been following him for his last few albums. I'm not a country music fan in any capacity but I find his music compelling.

been on a bit of a Dr John kick

The nice thing about Apple Music is music you upload to iTunes that isn’t matched to Apple Music will upload to the cloud for you to stream.

I too wasn’t too fond of it. Not sure I still have it to revisit it either.

I picked up the RSD release and am finally getting around to spinning it.

I'm not 100% sure but is should be cd. I think that is the only format pfMENTUM uses. I agree about the small rooms as well, the place I saw Vinny at probably a dozen times, The Blue Whale shuttered in Dec of 2020. I had seen so many shows there it still hurts it closed.

So as most here know I am a huge Vinny Golia fan. Vinny has released his most largest single Movement as of the end of August digitally on bandcamp. I spoke with Jeff Kaiser of pfMentum and have been informed that a physical release is in production so, although I have listened to some of this, I am waiting for the physical release. This Movement is MASSIVE! 158 tracks that clock in around 11 hrs. Vinny Golia - Even to this day…Movement One: Inoculations Music for Orchestra and Soloists From Bandcamp: (Inoculation: to inoculate) This applies to vaccinating against the coronavirus and to mentally preparing ourselves to be strong against the onset of paranoia, boredom, depression, isolation, apathy, and all of the other symptoms of this disease that we did not anticipate. Even to this day…in its entirety comprises three movements. Movement One: Inoculations, which you are listening to now, is for orchestra and 21 improvisers. The complete length of Inoculations is 10 hours and 32 minutes and consists of 12 individual Modules. The second movement, Part Two: Syncretism: for the draw…is for metal band and orchestra and will be released later in 2021. Finally, as yet unnamed, the third movement for symphony orchestra and large ensemble with improvisers will be completed at the end of 2021. I started writing Even to this day... for my upcoming 75th birthday a year before it was to happen at the request of Rent Romus, who was organizing a concert of 75 musicians to perform the piece, unaware that Covid lurked around the corner. The performance never happened. So, I decided to go for what I wanted using real and virtual musicians performing composed music combined with improvisation—which always seems to be the best way to get what I want musically—a blend of serenity, intensity, and stability that shifts like the sands in a desert. And, as I wanted to have many of the West Coast musicians I play with represented in the music, I came up with a plan to have soloists play over a large and continually changing symphonic setting. Even to this day... includes soloistic journeys, short interludes, transitional forms, and improvisations involving orchestral textures. Performed live, I would have used a combination of conducting techniques I have been refining since the first concert of the Vinny Golia Large Ensemble in 1982. Unfortunately, I could not do this live because of Covid restrictions and instead created an alternate composition system to supplant and expand on those techniques. Our West Coast community of creative musicians is vast and intensely innovative, and from this communal pool, I used improvisers accustomed to performing New Music and freer forms of improvisation. Specific compositions showcase their creative talents, resulting in a myriad of improvisational approaches. For the listener, the modules within each movement can be arranged in any order but are best listened to in their original order as the compositions within each module accent each other. Movement One: Inoculations is the first part of over a year’s worth of work on Even to this day... The movement is a direct response to Covid, reflecting feelings and thoughts while locked down or “safer at home” for 15 months. With so much discord in the world at the moment, the chance for a few of us to collaborate on something positive seemed a great way to fight back, peacefully, against the malaise of fear, uncertainty, isolation, hostility, and depression. So, this orchestral project started in March 2020 is now ready to add the final component, the listener... credits released August 25, 2021 Featured soloists: Ken Filiano-Bass Derek Stein-Cello Matt Barbier-Euphonium & Trombone Tim Feeney-Percussion Randy Gloss-Hand Drums & Electronic Percussion Vicki Ray-Prepared Piano Sarah Belle Reid-Trumpet & Electronics Kyle Bruckmann-Oboe, English Horn & Electronics Jeff Kaiser-Trumpet and Electronics Cassia Streb-Viola Miller Wrenn Bass Nathan Hubbard-Drums & Percussion Steve Adams Sopranino Alto Saxophones, Alto, Bass Flutes & Electronics Steven L. Ricks-Trombone & Electronics William Roper - Bombardondino, Tuba & Extemporaneous Spoken Word Dan Clucas-Cornet Clint Dotson-Drums Brian Walsh-Bb, Bass, Contralto & ContraBass Clarinets Ellington Peet—Drums Wayne Peet-Piano, Organ & Synth Vinny Golia-woodwinds, gongs, singing bowls All Compositions and Arrangements-Vinny Golia Ninewinds BMI Trapezoid by Randy Gloss Recording-Wayne Peet & Vinny Golia (with additional remote recording by selected solo artists) Recorded from March 2020-August 2021 Edited, Mixed and Mastered By Wayne Peet Produced by Vinny Golia and Wayne Peet Album Art by Carole Kim-"CB Flute" Special thanks for the use of the pipe organ at St. Vincent’s the Virtualist, extra-special thanks to Kathy Carbone, Wayne Peet, Steuart Liebig and Jeff Kaiser, all the players of the Bpjsornstein Contemporary Orchestra, and of course the fine soloists' contributions Ninewinds & pfMENTUM

Charles McPherson, Bill Evans, Keith Jarrett, Stacy Kent, I think I have a recording of Masabumi Kikuchi, Sam Yahel, I think Jimmy Greene, Silvano Monasterios, Zaid Nasser on the stroller album… that’s all I can think of right now. I’d say for me the McPherson is the quintessential version followed by Roy at the Village Vanguard that was on the set up on wbgo/npr years ago where Roy actually sings it.

Stanley did it. It’s a Jay Livingston song I believe. I know Roy Hargrove was playing it regularly.