Chuck Nessa

I think it was residue from shaking hands with Tim McCarver before the game.

No, and he probably can't spell either.

I used to know.

I will agree to the extent I see your post as a "fall back position" of sorts. The majority of the "contemporary" music I hear is one or two steps above "making the changes and playing the licks" etc and that is what is most disheartening for me.

Sad indeed. It is easier to adopt/adapt a "style" than to create new music. Those days are temporarily (i hope) suspended. The "death of jazz" occurred when "style" became more important than music.

Foots Thomas was a&r for the label and probably claimed publishing in return for the gig. Not unusual for the time.

Lawyer?

We will await Guy's opinion.

Why the hell did Fox have Johnny Cougar singing before the game? If they wanted a music act, Detroit could have delivered.

They DO have cabs in this cow town. Gotta go to Bryant's. Not a value judgement, just a fact.

Sorry, I thought this topic was about an old friend.

Thank God he's out of his Dylan phase. All the best Matthew.

IMHO, it was a lame attempt to get bucks for decent musicians. No reason to pay for it. Really? Have you played it again in recent years? I think it's quite good. Have not listened in recent years. It could be nice but the feeling of "missed opportunity" lingers. I was hearing all these folks live at the time and the record seemed a huge compromise. I'm certain the musicians didn't embarrassed themselves and delivered a decent project.

I had no idea she was alive either.

Copyright was supposed to protect creativity. Sorry, didn't know I umputed your motives. Are you insulted 'cause you are cheap or 'cause you are selfish? I'll have to go back and check. You don't get it. I'm trying to protect the source material AND the creation of more original material. Simple research on "compulsory licensing" should answer some of your questions about that.

The "playing a unison line" drove me nuts and to some extent erased my earlier appreciation of his skills.

I don't think so. IMHO, Besides being too simplistic, I feel it is wrong.

Can't say that I heard "restrictions" as much as I did "restructurings" and/or "redistributions". Never heard him sound less than himself. Please explain the "restructurings". I do want to understand. Who said he didn't sound "like himself"?

Lots of stupid, impractical stuff in this thread. I don't give a fuck about the media conglomerates EXCEPT they do spend the money to preserve the original sources. Commercial master owner's concerns do have contractual obligations not passed on to the PD folks - Sony/BMG have to pay royalties to the estates of Ellington and Armstrong (for example) not paid by companies in "50 year" countries (JSP, Definitive, etc). Add to that the expense of preserving the masters and you have a recipe for a huge cultural purge. I'm just presenting the dilemma. I do have a "fish in the pond". In 1967 I borrowed money to record some music and continued to work this way until today. Eleven years from now this material will be PD and subsequent sessions fall by the year. If I had spent the money on "physical" property, I could pass this on to my children and they to their children, etc. In numerous threads on this topic I have suggested a compulsory license as used in the print music business, but nobody seems to care. These folks don't want solutions, they want cheap music when they want it. Selfishness on all fronts.

It sounds like he's moved a few miles.

I watched it. I hope Skid did. Thanks for the post.

Not really true from my experience - recordings and in person. Prime Time restricted Ornette's melodic flow and restricted his rhythmic alterations. These are the two most important aspects of Ornette for me. I can appreciate the Prime Time on its own terms but I will never "love it" as I do most of his output.

There is a good excuse to reissue this material.

Why? I've gotten great LP tranfers using the soundcard and Goldwave. Although it would certainly save steps if their software recognizes track breaks and splits up the tracks automatically and also sets levels, I fail to see the advantage otherwise. If the point in bypassing the soundcard is the fact that soundcards are easy to overdrive, well - set the levels lower. When copying the fewer links in the chain, the better.

INport bypasses your sound card. That is usually a good thing.