Hoppy T. Frog

It already has been - in, among other places, the deep underground of the "DJ culture" which is slowly beginning to influence some jazz, quiet as its kept. Which is why "justifying" the relevance players like Eric Alexander is like justifying VCRs. Otherwise, I rest my case. Revisit this thread in ten years. I'm not convinced that "DJ culture" will be influencing anything. "DJ Culture" itself is way past its peak popularity and general cultural influence. As a musically adventurous teenager I was big into that stuff over 20 years ago, and was devouring English music magazines in the late 80s when English yoof were having guerilla raves in fields and warehouses. In 1988-91, that stuff was the future, and the music seemed genuinely innovative and exciting, either because of its association with what seemed like a genuine grass roots underground, or maybe it genuinely was innovative and exciting. A few years later "electronica" seemed poised to become an overground chart phenomenon in the US (Chemical Brothers, Prodigy, etc). It didn't. (Also, a lot of the music being marketed by the majors sucked.) Jazz artists tried to come to grips with it, like Ben Neill (judgement: he sucked. I had a hard time selling his big-label CD back to a used CD store--no one wanted it). The acts got dropped, the festivals collapsed, or changed musical emphasis, the CD compilations with cheesy covers slowed to a trickle, even the magazines dedicated to the phenomenon folded, and kids moved on to something else. What I'm trying to say is that although you may have discovered it recently, the "DJ culture" scene is so over, that whole scene and the music involved might as well be Dixieland at a Shakey's Pizza. It ceased to innovate, and it is no threat to the authorities like those English raves in 1989. (Look up the Criminal Justice Act). I'll give you a good old-fashioned unsubstantiated Clementine pronouncement from on high: The future of "jass" is the Taylor Ho Bynum/Mary Halvorson/Peter Evans type of scene where they play whatever the hell tickles their fancy, jazz n'pop n'folk and METAL whetever they hell they feel like playing in whatever musical configuration they choose, yet they can still bring mad chops and discipline it to a Braxton composition. Walkin' with Jesus in Exurban Maryland, Hoppy Edited to add METAL IN CAPS

This article in Ebony seems to imply she is real: http://books.google.com/books?id=deBupr5jEw4C&pg=PA119&lpg=PA119&dq=Roz+Croney&source=bl&ots=mxt04-IpJP&sig=gf2yMkSeRWx7W-iM8dC1-HBMN8E&hl=en&ei=LFJFS8K-JIuRlAfe8s0N&sa=X&oi=book_result&ct=result&resnum=6&ved=0CBUQ6AEwBQ#v=onepage&q=Roz%20Croney&f=false

What's the story here? Is Jarman out of the Ensemble again?

Is American Jazz Clasics similar to Lonehill and Gambit, a European label reissuing 50 year old + material? I saw Sonny Stitts Plays Jimmy Giuffre is coming out, but I would prefer a Japanese (or US) reissue. Thanks, Baker Yes. "American Jazz Classics" is one of those public domain "Andorran" labels.

Reich's Music for 18 Musicians, original ECM recording.

Don't tell Bob Rusch.

Oh shoot. I had it in my hands at a used store in some city--I have no idea where-- and passed since it looked so square. IIRC, the tracks are all real short, which is what turned me off. I should have previewed it.

About a month ago I played the disc 1 version of "Bill's Hit Tune" from the "Turn Out the Stars" set. Seemed to me that the tempo increased by about 20 percent, maybe more, during Evans' solo. This pretty much made the music rhythmically incoherent IMO; where "one" was essentially disappeared. Is there any other well-regarded jazz musician who had this problem to the extent that Evans eventually did? I've never heard anything close to it. I don't have your book at hand, but was it you that said that Evans' brisker tempos late in his career was because he replaced the skag with coke?

Also by Stuart Broomer: "The Paul Molitor Story".

I've heard it, too. Apparently a Chicago guy called John Steiner bought Paramount, then found that loads of the masters had been junked. Apparently, some farmer lined the walls of a chicken house out of some. Steiner rescued some and a bunch more, which Decca had been interested in buying, turned up at Riverside, who issued them, paying Steiner a small royalty. And that's it for Paramount, I gather. Eli Oberstein bought Gennett but doesn't seem to have been too interested in reissuing material; he wanted the label so he could get around shellac rationing (only firms in existence before the war could get an allocation). This must have been when he was involved in Elite and Hit Records, not Varsity. MG Ken Steiner, I think.

WIRL was Chris Blackwell's first record label, before he founded Island Records and brought Bob Marley to the world.

I try to give them as much business as I can. How much longer they can last is a big question. When they are gone, smaller labels will be available in Washington only by mail order. Melody has a good classical selection, as well. I hit CD Cellar in Arlington about once a week as new used stock comes in pretty regularly. Orpheus further down the street had some interesting stuff, but the prices were too high for me.

Can the Horo albums be found on Dime or the "sharity" blogs? I found that Blogspot page that brownie linked to, that has a few of he Italian Jazz ones. I'm sure people are aware of how the Andorrans turn around and sell on CD things they rip from Dimeadozen. If these are needle drops, then I might as well get them free from the net--same as the Andorrans!

That's good, since as a rock critic, he stinks.

I've seen them listed at Amazon as well, in some cases, even more expensive than the FMP reissues! I read in All About Jazz that Jazzwekstatt is an Ulli Blobel label. Hadn't he had a track record of releasing unauthorized releases (not to say bootlegs).

Rounder and Incus have been added!

I like the Mosaic Select, but that was probably not a "definitive" collection, more like odds and ends.

I was told, by a religion teacher no less, that capitalizing "he" or "him" when referring to God was lame.

Indeed, but what's wrong with death? I mean, I'm in no real hurry, and yeah, it's kinda creeping me out to be feeling it approaching now, but ultimately, what's wrong with it? You gotta die, I gotta die, we all gotta die. and when we do, we've either done it or we haven't. The lead in time ain't no party, but...out with the old, in with the new, the more things change, etc. I'm obsolete, I admit it. I'm a freebop tenor player, occasional composer, got the skills to make some $$$ doing weddings and R&B and such, have had a blast (personally & musically) doing it, but the world has changed, and it's somebody else's time now. They can (and often enough to make it fun, do) call me if/when, but...it's not my world out there anymore, nor should it be. My world is in here with my family (immediate and otherwise), and...I'm more at peace now than ever, except when called upon to "go back" in some form or fashion. It just ain't there anymore, at least not for me. When it was there, it was a blast, but it's over. Time to move on, which at some point is going to mean doing the death thing, and...I hope to die with more grace than I have lived. But to make that happen is gonna take some work. Carpe diem. Dude, you're like, what, in your fifties? Isn't it a little too early to wish for death's sweet embrace? I like you man, but take a walk in the woods or teach a child to read or something.

A veritable institution (which went bust last year leaving a major building vacant on nearly every small town high street...the one in my town is still unoccupied)! In fact we're surprised that it exists in the US. I was doing a lesson on the Lunch-counter Sit-ins a few days ago and my 16-17 year olds were amazed to see a photo of Woolworths in the USA. How little we know of one another. Well "our" Woolworth's was a different corporate entity (with the same origin), and went bust in the 80s.

Go to the movie and tell us how it ends Allen. SPOILER ALERT: Monk dies at the end.

Jimmy Giuffre "7 Pieces"

Incidentally, a local shop has the 18 LP Japanese Box set that started it all. Is $250 a fair price? Edited: I see that Mosiac is auctioning a sealed version with a starting price of $199 ($11 shipping).

Huh. I grew up as a Missouri Synod Lutheran, but no pastor I heard preached with that level of intensity.

Sounds like Ishmael Reed (not a dis).