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David Ayers
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Posts posted by David Ayers
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If anyone wants to go down the rabbit-hole of the history of the 28-year copyright in pre-1972 sound recordings (I don’t!) here is a place to start with useful summary and links:
https://blogs.loc.gov/now-see-hear/2019/02/copyright-breakdown-the-music-modernization-act/
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5 minutes ago, Mark Stryker said:
Won't go to Spotify, but perhaps the recording is from this 2008 concert.
You’re right! Thank you.
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Anybody know what this is?
https://open.spotify.com/album/2GUaxvV3Ziln8TLjK7YLIz?si=lQagfgkhQ6aIe9-zcBHijw
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I am not aware of any academic work on this topic, but that is what is needed. In literary studies we have for a long time paid attention to questions of readership, distribution, advertisement and cognate areas. Influenced by the once entirely separate field of the history of the book, we have paid increasing attention to publishers, booksellers, bookshops, nd other sites and mechanisms of distribution. Literary studies is a heavily resourced field. Music less so, not least because a large part of music studies is practice-oriented (performance and composition), the technical barrier to entry is high, and the scholarship of the kind which would be useful in answering the OPs question is thin on the ground, not least because there is more fundamental work yet to be done on basics as far as the last century or so is concerned. This work - or some of it - will I think eventually come, in the same way we understand to some extent at least how earlier markets for music functioned (e.g. Handel, Mozart) and, while I haven't checked it, I imagine we have a similar level of knowledge re. big names as to the personal finances of e.g. Bartok and Ellington. Now I don't follow music scholarship very much and there may be more out there than I suspect, but I should think there is much further to go in the study of venues, publications, advertising outside specialist publications, and we probably haven't made much of a start on jazz producers, record stores, etc. I daresay there is more of this kind of thing on e.g. rock, punk, pop. All that said, I haven't done much of a search on this, and if people are aware of good sources it would be useful to see the references posted here.
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1 hour ago, mjazzg said:
OK all this love, so which albums?
I remember listening to a Dolphy album years ago which didn't grab me then by Potsa Lotsa or similar
There are four terrific trio albums - two most recent on Intakt, two earlier on Jazzwerkstatt.
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I’m going to add Silke Eberhard. Unfailingly interesting, immersed in classic modernists (especially Dolphy) but very much her own voice. She’s been mentioned on the board a couple of times but I’d have thought she’d have a wide appeal here in terms of people’s tastes.
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5 hours ago, mjazzg said:
I agree with you but I think you're setting the bar too low at "labels which have rarely or never given opportunities to women" as I can think of several that do just off the top of my head - Leo, Rogue Art, Relative Pitch, Clean Feed, ECM. I agree about Intakt.
I think a more realistic expectation would be to ask which labels have a significant representation of women as leaders in their catalogue - "significant", I'll leave to others to debate. Somewhere near 50/50 would be nice as an aspiration, wouldn't it? And no, I'm not suggesting quotas.
Yes some labels have moved on this. By opportunities I was thinking leader or duets.These UK researchers produce some depressing analysis and statistics but suggest that the largely older male audience for jazz can influence the culture with their concert attendance and purchases - which is what I’m going to try. See how long I last!
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43 minutes ago, Д.Д. said:
Yeah, I know this interview. She was talking specifically about when she started back in early 80's, forty years ago.
I see. So where does she express the views which you attribute to her?
Why stifle this topic? There are currently active record labels which have rarely or never given opportunities to women. The most significant exception is Intakt. I wonder what they might make of this discussion?
I'm not even asking people to embrace feminism and feminist cultural theory (though I think they should), I just asked which women in jazz people find interesting - whether currently active or from forty years ago - or both.
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Here’s what Léandre has actually said
“I was looking to create new music, my music, in my century, plus I am a woman, not a man. I had to find my music, my feeling, my sounds. I don’t want to play like a man. Men have examples to look up to, not only in music, but as a woman, we don’t really have big figures on podiums. The only figures in front of me were men. I had to find myself, as a woman, in a creative way. All the world is built by men, almost everything. Women have to do somethings by themselves.”
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Well, this is the recommendations thread, and I still think it's ok to ask for recommendations of recordings by women.
I wonder why the very idea of this thread arouses objections?
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One British stalwart was Kathy Stobart. That’s going back a bit. More present in my lifetime, Annie Whitehead.
Now even I’m just listing names when I started out trying to see what people would recommend…
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Angelika Niescier took some time to break through but is now more widely known through recordings on Intakt, not least her most recent with Alexander Hawkins. That's a fine record which shows sides of her that her leader dates don't. Let's mention too that Alex has made terrific records with Tomeka Reid and - to outstanding effect - as co-leader with the polymathic Elaine Mitchener. So that's one 'white guy' who knows where to look for interesting collaborators.
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I guess like you I knew most of these names from recordings and concerts. Does anyone really not know any of these musicians? FWIW there are quite a lot of names missing - some of them eminent indeed. I think it's a topic worth active review.
On the topic of men bringing women into their projects except as singers it occurs to me the 'avant-garde' got off to a particularly shaky start, with Coltrane maybe the first notable exception.
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Women in Jazz: Music Publishing and Marketing
Seems some people think there might be issues.
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Here's how Nicole Mitchell sees it.
"So yes, there was definitely women stuff, because first of all, there’s never enough. There’s never enough gender balance, and that’s the real issue. And that’s what I work to solve in my own projects. There’s a lot of great male musicians that talk a lot of stuff about being progressive and supportive of women. But if you look at it, what are the projects they put together? Who do they hire? Who do they bring in to do their music? Have they actually brought in anyone except other white dudes? That’s, to me, what I think people don’t take seriously enough, and that’s really where the change happens."
https://nationalsawdust.org/thelog/2018/01/15/nicole-mitchell-science-fiction-and-sound-strategies/
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17 minutes ago, Rabshakeh said:
This is the first that I have heard of this. What is the background to this comment? I had no idea that there were female territory bands.
There’s a 2000 monograph on the topic by Sherrie Tucker. There’s a helpful discussion in the Wikipedia page on territory bands (in “History” section - scroll down).
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7 hours ago, Д.Д. said:
What a strange discussion to have in 2021. There are more excellent female jazz musicians than ever before. There is nothing exotic or particularly distinctive about being a female player anymore. Are we going to have a thread for tall jazz musicians next?
Grumbling aside, I like Ikue Mori and Shayna Dulberger (an excellent bassist, not sure if she's active anymore: https://chriswelcome.bandcamp.com/album/wound-unwound-and-within).
In all the years of this board, have we ever discussed this topic? In fact something does happen when we bring these names together. Compare and contrast e.g. the history of modern jazz in the fifties and sixties, or the treatment by their contemporaries and by jazz historians of last century of the female territory bands. And in fact I’d be surprised if anybody here knew all of these names - I’m surprised how many are new to me. I see Wynton is still holding back the tide at LCJO - I’d like to see their diversity policy.
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Promising? I’ve never got into Nucleus but…
https://www.repertoirerecords.com/artists/nucleus/nucleus-live-at-the-bbc/
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I am quite surprised that there are some names here that I have never come across! The recommendations of specific recordings are the most useful things from my point of view. Keep it coming!
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Been spending time with two contrasting recordings recently and wondered who else people here might follow.
So on Spotify I have been rediscovering Pure Fantasy by Barbara Thompson's Paraphernalia. I bought the original LP and no longer have it. It made it to CD as Nightwatch, as I discovered only recently. Jazz-rock with a lot of interesting flavors.
https://open.spotify.com/album/5niyGUY07Vn5nKu5ozYP9K?si=nfAfIJruTnCf5GLMyWAegw&dl_branch=1
Much more recent and in a contrasting vein, I've been listening to Sarah Gail Brand 's Deep Trouble with Paul Rogers and Mark Sanders, which I got from Bandcamp. Such a beautiful, clean and subtle trombonist, fantastic group, and a lovely close recording even though it is recorded live.
https://sarahgailbrand.bandcamp.com/album/deep-trouble
Outside the very well-known female vocalists, who else do people here recommend?
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42 minutes ago, romualdo said:
leased from Blue Note?? Why???
these releases are getting more & more perplexing
Assuming that they can sell CDs at all, which judging by this reissue program they can, it seems like a good idea to pull out these two titles. I hope that we can avoid another “is it legit?“ debate…
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4 hours ago, medjuck said:
Own 5 different versions of KOB. Also several versions of Portrait of Pee Wee on cd. But I do try to stick to one only.
KOB is like an infection. I own multiple copies and I don’t even care for it. I’ve got quite a lot of duplicate Miles even though I’ve generally never been that interested in him - apart from one track (!).
Also, I don’t sell vinyl of things I ‘replace’ on CD. That’s not real duplication.
Also, CD box sets usually break up individual albums so I don’t see that as duplication - whichever you buy first.
I think I’ve got just one identical duplicate - for some reason I’ve got two copies of the original Three for Shepp.
I wonder why that last one never saw much CD release?
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In the UK at least.
according to europadisc.co.uk
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16 hours ago, sidewinder said:
Mine is 766 (shame it isn’t 666).
666 is already on its way to Mordor
Raphe Malik
in Artists
Posted · Edited by David Ayers
I’ve been listening to my Malik-led discs in the last few days.
I have thought back on this thread and Mr Malik’s arrival on it quite a few times since.
Rehearing the music has reminded me how long his aesthetic has stayed with me. I still richly appreciate these CDs.
Rereading the thread is also something. Apart from the (I guess) embarrassment of being caught spouting opinions by a ‘name’ musician, the thread itself has stayed with me too.