Michael Fitzgerald

Absolutely - just like how you are required by law to destroy all backup copies of software if you sell your original. You can only have legal rights when you are the legitimate OWNER. If you have sold it, you can't possibly still own it. Mike

The "strong support the weak" was how labels used to be run in the past. That was when musicians were involved in A&R and there was some consideration for art (not just commerce) and when it was important to have a good classical program because it gave "status". How quaint. Nowadays, the CPAs and MBAs and PITAs want EVERYTHING to sell. They look at the fiscal quarter. They're not interested in waiting to develop long-term talent. They want their money NOW. Mike

Yeah, but with the Monk family involved, doesn't that mean there's the possibility of wacky day-glo holograms and the like from Thelonious Records? Mike

Why is it so difficult to understand the difference between legitimate copying (making a CDR of an LP that YOU own for YOUR use in YOUR car) and illegitimate copying (keeping the copy you made while you were the legitimate owner AFTER you have sold your LP and the rights to own ANY copies of it)? As long as the owner is doing the copying and keeping the copies, there's no problem. But if you aren't the owner, then the copies are illegal. Mike

As for Sony firing Belden, I hardly think so. He's trying to sell Sony "product" and in the end, all that matters to the bean counters that run the media conglomerates is money. If they thought it would make a difference in the bottom line, they'd promote their company as anti-music. Mike

Brookmeyer's a guy who walks the walk and he talks the talk - though in my experience, he's a master of the Thomas Jefferson adage: "The most valuable of all talents is that of never using two words when one will do." He calls 'em as he sees 'em and he's been around. He's been helpful to me in the past and I have a huge respect for him as an artist, even though he may not be my absolute favorite. He's always doing something interesting and it's always done with integrity. Mike

You ain't missing much. Unfortunately, The Kinks never made great albums. They never got to the Beatles/Pet Sounds level where *everything* was good. So even Something Else has some bad patches. But man, can you do a hell of a compilation. The Pye 2-LP "The Kinks File" was a good one, but even that had to leave off some gems. Mike

Lucky me, I've now missed hearing her twice! She's never been a particular favorite and what I've heard by her recently is pretty bad, almost a caricature. I also don't like her as a speaker. I listened to her talk for quite a while at IAJE a couple years ago. There's just something "fake" about her delivery. Ditto for her stuff reading the scripts on the radio show Jazz Profiles. My impression of Moody and Hendricks was that these guys are getting a bit over the hill. Rhythmically, both were scuffling a bit with executing lines at the tempo (Woody'n You for Moody, Rhythm-a-ning for Hendricks). Those guys were perfectly in sync with each other, ideologically. Paquito seemed odd man out, and he didn't have to be because he could fit right in with them in the Dizzy Gillespie sphere. That a newcomer would think that Paquito only plays clarinet is kind of weird (he talked a whole lot about Benny Goodman too). And thinking about that, someone new to jazz wouldn't know Dizzy, Benny, Pres, Billie, Miles, and any others who were mentioned in passing. I mean, as Jackie McLean said in that other show, the folks in Harlem know Kenny G but they don't know Charlie Parker. So some reference footage or at least some photos would be helpful in educating the jazz audience. What I would have done (with my vast TV production experience and unlimited bankroll) would be to do a show with Moody, Hendricks, plus Manhattan Transfer and Bobby McFerrin and some fairly young, fairly good looking singer for the young crowd - I guess even McFerrin isn't hip enough anymore. Then show folks some real vocalese with Moody singing his Mood, some burners like Cloudburst or Everybody's Boppin', etc. Some archival footage would be good too. Jon Hendricks can be a real crowd pleaser and has so many good stories to tell (sometimes he goes on too much!) - this show didn't make use of his great potential. Five guests (plus a participant host) in an hour with one of them not even playing is too much. And keeping folks separated except for the very end was a bad idea, I thought. I liked when they talked about Lambert Hendricks and Ross and others like Wilson and Wein gave some input. The five seemed more like friends at that moment rather than just individual guests who happen to be on the same show. Mike

Chris - Thanks so much for this alert. It was so fortunate that I happened to have the computer on at home at just the right time. Otherwise I'd be kicking myself. I gotta say, I'd imagine this TV program would be more interesting to someone who didn't know jazz than the Jazz Legends show. You really got a feeling for Jackie as a person and you knew that Noble wasn't some ignorant Charlie Rose kind of interviewer. Seeing the actual buildings wasn't any big deal, but having these guys on the street instead of in the studio made for a good contrast to the old studio interview and the performance footage. I'd pay $20 to own this on DVD to be able to show students, especially since Jackie won't be around forever. Mike

He's the show's host, and a longtime friend of McLean's. http://www.aeispeakers.com/speakerbio.php?SpeakerID=741 Mike

Y'know, teach a man to fish and all that. Mike

Oh my God - footage of Jackie directing the drum and bugle corps he ran for a while! There was a moment towards the end with Jackie & Gil Noble (in his hat) that reminded me of the cover of "Jackie's Pal", except the roles were reversed heightwise. Mike

They are not available as html, they are available as XML files to be emailed to other BRIAN users. Mike

Yes, but the show webpage at http://abclocal.go.com/wabc/ontv/WABC_likeit_is.html (updated 2/2/04.....) says no transcripts or videotapes available. Mike

Is there something earlier than the 'Igginbottom's Wrench band? I thought that was 1969. Mike

Yes - dunno when it was taped. Mike

He is taking us on a tour of New York. Telling stories about Bud Powell. Some footage of Jackie, also some Dizzy (late 1960s?), also Bird (silent w/unrelated dub), Bud (also dubbed). Mike

Far out! Mike

If "retail" is calling the shots *before* any sales are made - what magical information or insight are they working on - their extensive knowledge of the jazz field and the jazz market? Maybe we should link this thread with the one about them playing crap in the store. Having worked for a brief time in retail, I assert that retail doesn't know a thing about jazz, not even about big-name stuff like Legacy issues. In the area of jazz, the customer knows more than the seller. They can't tell you what the labels are planning, what were in the most recent wave of RVG reissues, etc. I guess this is why I buy just about everything online now. Mike

Already entered in BRIAN. Ready for anyone who'll use the program. Along with these (including the Ferguson, Morgan/Shorter, et al.) and more: http://www.JazzDiscography.com/Temp/boxedsets.htm Details on the BRIAN program at my website. Mike

A "jerk"? What did he do, borrow your car and leave the gas tank empty? Is your collection only "nice guys"? Mike

When Bob Brookmeyer's the subject it seems there's a few too many b's in the bonnet - is the signed "bb" Bob Belden, as I assume? Mike

I assume you will dupe from disc sources, use the Adderly spelling, will have side one tracks play at the wrong speed, and will credit Miles Davis only as composer of Blue In Green. Oh, and you will replace the Flamenco Sketches master take with the alternative take. Mike

If no sources/sites are mentioned here, what's the problem? Folks who are interested in obtaining such things will be forced to inquire off the board, which is exactly what was requested. In the end, all the sites are short-term so eventually they will disappear. The recordings themselves and the music on them won't. And these are a very important part of documenting an artist, a scene, and music in general. It's ridiculous to pretend that such things don't exist. It's equally ridiculous to expect certain discussions to talk *only* about commercial items (I mean, early 1970s Pink Floyd - there's so much stuff). Don't make this board the next step to the questionable sites. Any rules that go beyond that are unproductive. Mike

Slightly off-topic, but last sentence is not true. Schneider was nominated for more (four?), but won only ONE Grammy award for 2004. Schneider did win four Jazz Journalists Association awards this year. Mike