rostasi

I've been using it silently in the background for around 15 years and have never noticed a "paid" version. It's been an invisible helper for a long time!

There's a paid Adblock?

Are you familiar with Mr. Mucklehoney who walks into Ma Brontosaurus' Liquor store in the desert and knocks over a display of P.J. Proby wine?

After my updated Covid shot, I'm taking it easy with some Eichner. He died young (37) as did his composer daughter (25).

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My Gawd that was good to see! My 11 or 12 year-old self stopped everything to watch that show (on Tuesday night?) as well as Chris Albertson's "The Jazz Set" back in those days. I'd record the shows on cassettes and take them to my "workshop" to play along with them the next day.

It seems that every year we went, there would be a death of a performer soon afterwards too. It started getting kinda creepy. I suppose you could tie it into their devotion to older, very well-established artists being booked for the festival.

If any of you saw Michael Hurley at Big Ears, he just died.

Not expecting everyone to like those covers - hey, it's art! - but the visual aspect was as much part of the listening experience as the music. The ECM aesthetic - the washed-out landscapes, empty spaces, abstract textures, and sans-serif minimalism - mirrors the sonic atmosphere: space, clarity, introspection, restraint. It's an extension of the label's tagline: "The Most Beautiful Sound Next To Silence." The covers almost invite you to listen quietly. People who want more "color," flash, or narrative from an album cover (like you might get from Blue Note, Impulse!, a.o.) sometimes bristle at ECM's cool distance. But ECM isn’t about selling you the party. It’s about inviting you into a sound world, where even the artwork is whispering rather than shouting. Also, many ECM covers are photographs of nowhere in particular - foggy woods, grey buildings, sea horizons - but they become something because they’re tied to that specific album’s mood. So even if you don't recognize the landscape, it becomes part of the music's geography. It’s almost like ECM was practicing slow design decades before that became a thing. If Blue Note covers are like classic jazz clubs full of life, ECM covers are like walking alone through an empty museum at night. Not everyone wants that, but for those who do, it's perfect.

Coltrane on Coltrane: An Oral History

Caesar Frazier!

hmmm ... pancakes sound pretty good right now ...

The crux of the biscuit is the (lack of an) apostrophe.