.:.impossible

Its not so much the word count as it is just an incomplete thought. It reads like the rest of the review is on the next page or something...

Effron-generated messaging.

Recently brought home Black California on Savoy, Charles Earland Black Talk!, Paul Motian Tribute on ECM, and the Hampton Hawes/Charlie Haden duets sealed on Artist House. Pretty cool after the fact, looking at the connections between these four albums. I didn't notice any at the time I bought them!

Dookie Coleman!

No one uses the word "insipid" so masterfully. In fact, the word probably hadn't been used at org.org since clem's oft-discussed disappearance.

That is the entire review? Wha??? Strange.

Whoa. I know them personally. Karen, Brian, Boomer. Karen works with my wife. Brian ran for County Commissioner this past year.

I didn't read much of the article, so forgive me... There are 13 million tracks available for download through major websites and only 3 million of them have sold a single download? The article is about niche marketing, which, to me would mean that *my website.com* would have to report numbers. I have a feeling that the only retailers reporting are big boxes (amazon, yahoo, emusic, etc). Should I have read further? If so, and this is true, 23% of all music available for sale online has a marketable audience. Is the argument of this report that there is no such thing as a niche music market online?

What does this mean?

Drawbars?

I hear he shot J.R. too. Monterose?

Big O's!

I recently got Hollywood & Newport Live under the Jimmy Giuffre Three. Half of the record is Jimmy Giuffre (clarinet, tenor sax, baritone sax); Jim Hall (guitar); Ralph Pena (bass) The other half is Jimmy Giuffre (clarinet, tenor sax, baritone sax); Jim Hall (guitar); Bob Brookmeyer (trombone) Really fantastic stuff. I don't have that much Jim Hall, but I really love what I have.

That's really cool paps. What was the catalyst that sparked your interest in music so suddenly and dramatically?

ilad here/there double disc due out early 2009. I played a few vibes parts on it and designed all of the packaging.

Steven Bernstein to play with Fight The Big Bull at RVA JAZZ FESTIVAL in February. Click here.

Steven Bernstein to play with Fight The Big Bull at RVA JAZZ FESTIVAL. A separate recording session is planned.

Bernstein to play with Fight The Big Bull at RVA JAZZ FEST in February RVAjazzfest Saturday, February 21, 2009 8 p.m. featuring Steven Bernstein & Fight the Big Bull Boots of Leather Glows in the Dark $10, all ages The Camel 1621 W. Broad St. Richmond, VA 23220 (804) 353 4901 www.thecamel.org RVAjazzfest is sponsored by RVA Magazine and Urban Views Weekly About Steven Bernstein Steven Bernstein is a trumpeter/slide trumpeter, bandleader, arranger, and composer who lives outside of musical convention. His influence and projects inhabit almost every strain of American music that has been produced in the last half century. He consistently collaborates with Lou Reed, plays trumpet and arranges for Levon Helm, is the former musical director of no-wave Jazz outfit The Lounge Lizards, has released four beautiful records on John Zorn's Tzadik Label, composed numerous film scores including Get Shorty, Clay Pigeons, and Fishing With John as well as scoring Robert Altman's Kansas City. He has worked on various Hal Wilner Projects including being the musical director on the unanimously acclaimed and recently released Leonard Cohen documentary. Bernstein wrote the horn arrangements for Bill Frisell's Grammy winning 2004 recording Unspeakable, as well as for artists including Rufus Wainwright, Darlene Love, Elton John, and Marvin Pontiac. His band Sex Mob has been together since 1995 touring the world. Sex Mob has won numerous awards, and has had their music featured on MTV, Saturday Night Live and NPR. His nine-piece ensemble, the Millennial Territory Orchestra, recently released their debut recording, MTO Vol. 1 on Sunnyside records. MTO was formed in 1999 for a series of Midnight shows at Tonic, and spent a year and a half long residency at the Jazz Standard. Bernstein has played trumpet with a diverse group of artists including Marianne Faithfull, Linda Ronstadt, David Murray, David Berger, Digable Planets, Sting, Medeski Martin and Wood, Courtney Love, Ryuichi Sakamoto, Don Byron and Mocean Worker. Awards include Downbeat critics poll 2006 (#1 RISING STAR ARRANGER, #4 RISING STAR TRUMPETER) Downbeat critics poll 2005 (#1 RISING STAR ARRANGER) Downbeat critics poll 2004 (#1 ARRANGER TDWR, #2 BIG BAND – MILLENNIAL TERRITORY ORCHESTRA), Jazz Journalists Association 2003 (RARE BRASS) and Downbeat Critics Poll 2002 (SEX MOB #1 BEYOND GROUP, #1 ACOUSTIC JAZZ GROUP TDWR). http://www.stevenbernstein.net About Fight the Big Bull A spirited congregation of saxophone, clarinet, trombones, trumpet, guitar, bass and two drummers, Fight the Big Bull is a display of spontaneous emotion filled with powerful significance and baptized in the traditions of the music. The band's recordings have drawn praise from artists such as Ken Vandermark and Steven Bernstein and recently gained the attention of Portuguese avant-garde label, Clean Feed Records. Dying Will Be Easy, the bands debut effort, connects the group to its rich southern musical heritage. Proud residents of Richmond, Virginia, the band's music is filled with remnants of spirituals, New Orleans marches, southern soul dance bands, and gospel choirs - all peeking through a kaleidoscope built in the avant-garde tradition. Displaying a very loose and messy aesthetic influenced as much by rock and roll as a deep love of international folk music Fight the Big Bull creates what has been called "... a rapturously chaotic sound." Formed in the Fall of 2005 in Richmond, Va by what was then Fight the Bull (a brilliant but currently defunct avant-garde trio of guitar, trombone and drums) and comprised of the finest that Richmond had to offer Fight the Big Bull recorded what was to become Dying Will Be Easy in the Summer of 2006. After securing a local bi-weekly gig in the fall of 2006 Fight the Big Bull quickly became a phenomenon in the local music community, honing their live performance into a beautiful chaotic and thrilling mess that appeals to the widest spectrum of listeners. Occasionally showing their exceptional sense of humor as well as unique arranging skills Fight the Big Bull has thrown the biggest and best parties that Richmond has ever seen, hosting a complete cover of the Weezer's Blue Album as well as covering Michael Jackson's Thriller on Halloween. In the Fall of 2007 Fight the Big Bull made their debut at the celebrated New York avant-gard space The Stone and released their freaky Richmond gospel trance voodoo on all unsuspecting NYC ears. In April Fight the Big Bull was MacArthur Grant recipient and celebrated avant-garde troubadour Ken Vandermark's guest for a series of shows in Chicago. They have been called "...sonically gigantic", "great, messy, generous music", " the best argument out there for small-market jazz innovation.", and Timeout NY has called them "... one of the more vibrant jazz ensembles we've heard in a long while". In November Fight the Big Bull was featured on NPR's Fresh Air and WNYC (New York City's NPR station) and Popmatters.com recently named Dying Will Be Easy as one of the top 10 Jazz albums of 2008. A band full of horns and love that you should never ever miss, displaying such a wide palate of emotions that your tin heart cannot escape being moved and featuring the finest members of the Richmond music community, Fight the Big Bull is much more than the sum of its parts and begs more than a passing spin on the hi-fi. http://www.fightthebigbull.com View articles on RVAjazz about Fight the Big Bull About Boots of Leather Comprised of Brian Jones on drums, JC Kuhl on saxophone, and Randall Pharr on upright bass, the primary focus of this unique venture is music of the Velvet Underground arranged for instrumental trio, along with a couple VU-inspired Brian Jones original compositions. Venues at which the group has performed include Bogart's, the Commercial Taphouse, and the Canal Club, all in Richmond. Boots of Leather's debut album, Foil, is now available for purchase through Jones' Slang Sanctuary label. The second Boots of Leather record, rich man poor man, is an eclectic mix of cover tunes from different composers (Barrios, Elliot Smith, Cream, Stravinsky, etc). http://www.slangsanctuary.com View articles on RVAjazz about Brian Jones About Glows in the Dark Glows in the Dark is an avant-garde jazz group based in Richmond, Virginia, and includes Scott Burton on guitar, Scott Clark on drums, John Lilley on saxophone, Reginald Pace on trombone, and Cameron Ralston on bass. Formed in 2007 by Scott Burton as a new outlet for his music, Glows is an on-going attempt to meld jazz and free improvisation with the story telling qualities of movies (or “films” for the serious). The group successfully creates music that’s engaging, challenging and always evolving. Glows in the Dark has shared the stage with Ken Vandermark and Tim Daisy, Mary Halvorson and Jessica Pavone, Judith Berkson, Aram Shelton’s Arrive, NY’s Little Women. http://glowsinthedark.wordpress.com View articles on RVAjazz about Glows in the Dark

I also really liked Jeb Bishop Trio/Quartet Afternoons alot and certain tracks on Cipher remind me of this album. Jeb Bishop (trombone); Kent Kessler (bass); Tim Mulvenna (drums); Jeff Parker (guitar) Cipher can almost be separated into two, maybe three, parts, though the album is not sequenced that way. I think if you are familiar with Axel Dörner, you will not be surprised by any of it. In the notes, Abrams mentions that he hopes this recording will mark the beginning of a "band". I wonder if they have played together since, and if they have found ways to better blend the musics they are exploring. There are a large handful of tracks on the album that certainly do. Liquid Nitrogen cool Tristano school blended with exploration of sonic textures. A great appreciation and respect for space and rest. Guillermo Gregorio and Axel Dörner show ways to use their instruments outside of the generally accepted methods. Parts sound like they could be Chicago Underground. Which makes me wonder why Chicago Underground hasn't received but a passing mention in these threads? Too much liquid nitrogen lately? I may pull my CU albums out this weekend for a revisit. I have always been impressed with Mazurek's ability and embouchure, though I certainly wouldn't recommend Silver Spines to anyone.

Another from this scene that I recall listening to quite a bit when I first bought it was Josh Abrams Cipher. Jeff Parker on electric guitar, Josh Abrams on bass, Argentine Guillermo Gregorio on alto and clarinet, and German trumpeter Axel Dörner. Quite different than the Keefe Jackson album you are enjoying so much, but a stand-out in my collection in its own right. I'll listen now.

I mean, I guess I'd buy an SACD just to hear, but I don't know. I'd prefer to have a pristine 180g 33 1/3RPM. I would easily pay $20 for this. I have a feeling I'd let the SACD pass me by as well, the more I think about it. I have three. I just recently bought a player that reads them. Of course I listened to them as soon as I set the thing up, and they sound great. I'm just not dedicated enough to buy premium formats like SACD and 45RPMs. There are plenty of Blue Note albums that I would buy all over again to hear on quality vinyl, but I'm not ever going to be stupid about it. No offense to anyone who buys the 45s. $50 to hear/own music that I already own/have heard had better increase the value of my home. Then again, I could probably use an ear upgrade or something because I am constantly reading complaints from people about recordings that sound just fine to me... sometimes fantastic! I listen to VBR Ragas all the time and really feel enveloped by the sound, so what do I know...

Yeah dude. This $50 45rpm bullshit is really starting to piss me off. Of all the Blue Note sessions, this is the one that I would want in multiple formats/ remasters, etc. $50 to take the platter off my turntable everytime I want to lisen to Gazz... I'm tempted, but I have a feeling I'm going to pass. And that sucks cuz the initial post had me going.

I've been keeping a playlist for a while now called Fazz Junk. This thread is perfect for that list. Lots of stuff from the thread is already there.

Maybe the other "Missing Link" you are thinking of is The Milwaukee Tapes Vol. 1 on Unheard Music Series?

Wow, is this thread revealing.