Michael Fitzgerald

Some of the same guys appeared on Lionel Hampton and the Golden Men of Jazz rec. June 11-13, 1991 when the ages were: Clark Terry (12/14/20) - 70 Sweets Edison (10/10/15) - 75 James Moody (3/26/25) - 66 Buddy Tate (2/22/13) - 78 Al Grey (6/6/25) - 66 Lionel Hampton (4/20/08) - 83 Hank Jones (7/31/18) - 72 Milt Hinton (6/23/10) 81 * Grady Tate (1/14/32) 59 (!) OK - average = 650/9 = 72.2 and this was nearly 15 years ago. Mike

If anyone has a copy of the Japanese-only Somethin' Else album "Face To Face" from 1989 I will be very interested in getting some additional details for the Renee Rosnes discography on my website. Thanks! Mike

http://www.jazzdiscography.com/Labels/parker.htm Mike

Jesus - what is not getting across here? Whether I have said material or not isn't the issue. Whether YOU see "nothing wrong" with sharing unreleased material isn't the issue. You have your own personal definition of "respecting the artist". Fine. Great. The artist's lawyers have their definition. Fine. Great. But when you say, "You can argue about copyrights all you want, but these sites were diligent in respecting copyright. They'd delete anything that had one," you are pretending that somehow the site was legit. It wasn't (at least not in the U.S. - I'm not going to address anywhere else that may have different laws). Now, you may not like the implication that you are a criminal when you exceed the posted speed limit, but that's how it is. Mike

I don't see how that follows. rmb is another jazz discussion forum. In the long-standing tradition of netiquette (if a decade or so can be long-standing) cross-posting is to be discouraged. You pick the most appropriate forum for your discussion and you conduct it there. That's where this particular thread started. If I want to read this, I go to rmb. It should have remained there. Mike

The only thing I'm disagreeing with is the idea of trying to rationalize things. I've driven faster than the posted speed limit on occasion. But I don't claim that I was in the right or that I should be entitled to do so. Mike

My point is that the discussion (such as it is) was on rmb - no need to drag it here. Mike

Oh please - let's not try to rationalize things with bringing up copyright. In the U.S., EVERYTHING has a copyright as soon as it's created. Whether it bears a little © or not. Unless the copyright owners sanctioned distributing the stuff on easytree, it was not legit in the U.S. Mike

Why is it necessary to drag inane topics from rmb to pollute things here? Besides, this topic has long been included in the FAQ for rmb - http://users.bestweb.net/~msnyder/rmbfaq.htm and a search on groups.google.com will turn up enough discussion for a lifetime. Must we endure redundant reruns? Mike

Just received this note (although I have never been an easytree member): --- Hello gals and guys, We're very sorry having to tell you that we had to shut down EZT forever just a couple of minutes ago. We got a call from our provider, they had received a few letters from a couple of lawyers. They requested EZT to be shut down immediately, otherwise we'd be sued. As you may imagine, we do not have the funds to fight a battle we most probably can't win anyway. We would like to thank everyone here for their contributions to EZT, one way or the other, for sharing the music, sharing an ideal, for all your mails, rants, praises... I'm sorry, I'm still too shocked to write on... maybe later I'll find some more words or my collegues will do... To say it with Joan Armatrading: We had fun, fun, fun, fun fun, fun, fun, fun we had fun -- while it lasted... --"Tall in the Saddle"-- You all take good care! jupiter2101, EZT Chief Mod

Just today received the newest Jane Ira Bloom CD. She is the latest to join the ArtistShare world. The album is titled Like Silver, Like Song and features Jamie Saft on keyboards & electronics; Mark Dresser on bass; and Bobby Previte on drums and electronic drums. Have not had a chance to listen yet. The CD also includes an mp3 version of the album (61 minutes). Her website is www.janeirabloom.com - although I don't see any mention of this album there. The accompanying press release says it's to be released on April 15, 2005. Mike

Apologies for the last minute notice - this film is airing in NYC on channel 13/WNET in about 3 minutes. Mike

Discographies list a live version of Thermopolae from Philadelphia, early 1948 and two more from June 1952, one from August 1952. Reportedly also Gregory Bemko, from the same Innovations concert as Reflections. Then a live City of Glass from 11/25/51 in Seattle, issued on Mark Records and another from 8/26/52 in Cincinnati, issued on Joyce, also on Natasha Imports. I don't have a specialized Kenton discography, so there may be more info there. Mike

Label M is no more, but looks like Dorn will be issuing the Left Bank stuff on Hyena records. The other Hubbard one (Fastball, from 1967) is due out tomorrow. It's a winner as well. Mike

Am I right in recalling the Prestige sessions in question were engineered by Richard Alderson? Was that his studio? Did it have a name? Can we look forward to a set of Prestige 4-bit CD remasters in "The RLA Series"?? Mike

I don't know what kind of absolutely perfect timing it is that April 3 is the birthday of Eric Kloss, but well, it is. Born 1949, so that's a happy 56th - would someone please report on the status of the donations? And I would hope that any response after receipt would be passed on here. Mike

I never saw him live with the black guitar, so I can't say anything about that. What I heard last night just didn't match with my recollection of how he sounded live (in other seats in other venues in other years) with the 175. Lots of factors could be affecting what I'm hearing - some or all of which could be conscious on his part. Maybe I'm just nostalgic for older shows. Mike

Ron Carter: Piccolo (live at Sweet Basil) Pat Martino: East Mike

Post script - I wanted to mention that I do like how Metheny has built his own instrumentarium - he's got sounds that are his own, whether different guitars or unusual instruments - harmonica, melodica, fretless bass, electric sitar, marimba, wordless vocals, certain synthesizer patches. Remembering that this group started out as guitar, piano, fretless bass, drums - you've come a long way, baby. But even then he started on his way, using electric 12-string with different tunings, adding the autoharp, Oberheim 4-voice synthesizer, the Nashville-strung guitar, etc. The Ibanez guitar he's playing now didn't seem to have the same definition as his Gibson, btw. Mike

Just got back from the show at the Beacon - final date of the US tour, I believe. Having seen the band going back to the 1980s, I wouldn't place this show as one of the best. It was very long - going on three hours - and not all that interesting. Following a short solo guitar thing (incl. This Is Not America), the entire new record is the opening hour, which takes balls but I don't know if it's really that wise. Even back when As Falls Wichita was new, the PMG did an abbreviated version and placed it later in the show. I had not heard the entire album before seeing the show. There are definite moments that could be "the end" - and then the piece keeps going. It got to be kind of tiresome. I know it's all one piece and I could hear the recurring musical themes, and unlike much of the audience, I myself have good bladder control and don't have an MTV attention span, but I wished the pacing had been better. The instrument changes got to be kind of obsessive - I mean, for Christ's sake, when even the drummer straps on an electric bass for a couple of minutes..... Would anyone really miss that bass part? OK, so these three guys in the back (Gregoire Maret, Cuong Vu, and Nando Lauria) are multi-talented - enough already. I got absolutely no sense that any of them had any kind of musical personality. They were perpetually doing something else. When Pat had Pedro Aznar in the band, who played a billion things, I still felt he was more of an integral part of the group than these three utility players. The second half of the concert is a little retrospective highlights deal. Go Get It - guitar/drums duo; James (from Offramp) as a trio with bass - very rhythmically loose compared to the original; Lone Jack (back from the white PMG record) as a quartet with piano; Last Train Home (from Still Life Talking); now I'm starting to forget the sequence - Into The Dream (pikasso guitar) then Are You Going With Me (again from Offramp) with Lyle Mays playing fake harmonica vs. Maret's real harmonica; Always And Forever (from Secret Story) - guitar/harmonica duet; The Roots Of Coincidence (from Imaginary Day); Lyle Mays keyboard solo moving into Farmer's Trust (from Travels) duet with Pat on nylon string; finishing up with the fast section of Minuano (from Still Life). Encore was Song For Bilbao (from Travels) which was nice to hear, as that is a favorite era of the band for me. I think I got everything. There was a definite attempt to present a variety of tunes from the nearly 30 years of the PMG. However, too often there was a climax and then another climax and then another. I think this is partly because they have too much repertoire to choose from - I do give them credit because they haven't just abandoned the earlier stuff. Sound reproduction wasn't as good as I remember PMG shows having in the past. A lot of stuff seemed to end up being just a big wash, rather than hearing all the distinct instruments. I hear people think drummer Antonio Sanchez is so wonderful, but I liked Wertico (and Gottlieb before him). Lyle Mays was quite unimpressive - and I have been quite a fan of him, unlike some. I will pick up the new album - I liked the later portions of it more than the earlier, fwiw. Mike

Postponed, according to a recent blurb in the NYT, which references this: http://www.petetownshend.co.uk/diary/displ...=103&zone=diary 21 March 2005 Spring has not Sprung The new Who album has been delayed, not cancelled. The release date I had hoped for in the late spring or very early summer was whipped from under my nose after three years of writing. Shows we hoped to do in the early summer seemed to fizzle, and we lost our drummer to Oasis until January 2006. All alternatives proposed, and which I have desperately considered, do not fit in with my current commitments. I am committed to record the music for my new story The Boy Who Heard Music. I am also completing my autobiography later this year. Sadly, this forces a postponement of the planned Who activity this year for some indeterminate time. I had lots of plans, but no hard schedule. And that is what has created this predicament. It’s probably my fault, because I work very slowly in the studio, and either no one believed I was actually recording, or they got tired of waiting. I should say that Roger has done what he calls sketch vocals on several tracks I produced, and the results are very exciting. But I feel I can’t tour any more with the Who without a new record. So until that record is actually in my hands, I must hold my breath and live in hope. Mike

Well, him and the other dead boy. And the one who's long gone now. And the one who's never dared set foot here. Mike

I apologize for pushing so hard for the ignore function. At this point I am having trouble thinking of who I would want to ignore now. If you ask me, the board is running at peak performance right now after some much needed "maintenance". Too bad we had to wade through so much to get to this point. Just please don't say it's an April Fool's joke. Mike

I enjoy George Cables as a player. I think this Gordon quartet was a wonderful band. The combination of musicians worked well and presented Gordon in a context that was more "modern" than what I've heard on the various European things from the 1970s, not "better" - just "different". However, the 3 CD Keystone set (which I bought on the day of its first release) does show Cables to be rather redundant at times. There's a diminished thing he does all over the place, just driving it into the ground, and the basic format of a lot of the tunes is the same. I don't have the 2-LP set anymore but it might have avoided this. Would love to see a reissue of Manhattan Symphonie - what is Columbia waiting for? Mike

FWIW, I picked up the Delos CD version of the Slam Stewart & Major Holley record for cheap at Berkshire last week. They still list it for $2.99. Mike