David Ayers

Maybe it's different where you are, but where I live there is simply no end of new music and new musicians. It is - honestly - absolutely endless. No-one could possibly keep up with it all. I don't yet see any shortage of new recorded music either, for people who find that more important - the opposite, a massive surfeit.

Maybe now Donald Rumsfeld can be honored for his heavy metal diplomacy?

Woof woof!

Amusing misprisions # 27,345 - I read the True Blue email as saying "Chuck Nessa, one of the earliest champions of the innovations hampering Chicago’s AACM..." - holding back the arts at every turn, eh? * i.e. 'happening within' And not a misprision - 'Vonski Speals' lol rofl lmao oh and 'Snurdy McGurty' [ok this is getting way boring]

Fine. But what would you say if he killed your dog?

This is how music will be distributed in the future. Well, it is how music is distributed now, so we may as well get used to it. The music industry never existed to support artists. However it does need to sufficiently incentivise artists so it can't pay them nothing. Recorded music though is not the only product of music-making and has only occasionally been the main source of income for musicians. Payment to musicians is in any case a fetish of this board since copyright laws were deliberately framed to keep the main rights in the hands of composers and not performers. In the case of per-play rates, the composers and performers get their contracted share. It is the model which is different - you have to get listeners and plays to generate revenue. The exposure on Spotify is a huge benefit to any performing artist. Spotify also removes the artificial barrier of the LP/CD days when you mainly had to pay before you heard anything, an all-or-nothing approach. Perhaps many people do not need voluminous access to music as people on this board mainly do. But the archive now is available to anyone who wants it, so in terms of access as well as lifestyle Spotify is a huge move forward. What BfB's app shows is a glimpse of the future, when the archive will be navigable by all sorts of maps and threads. Eventually all sorts of metadata will be linked to the musical material. Video formats will likely be routed the same way. I think we'll never look back and that we'll see the age of limited access and per-album rather than per-play payment as a dark age.

30lbs. What's the secret?

And yet - there are so many people who could be launched into space to the immeasurable benefit of the rest of us...

Have I not already mentioned that the most substantial, most-played, and most-referenced work for saxophone (and jazz drums) and orchestra by a name composer of recent decades is Birtwistle's Panic? Scandalously premiered at the Proms by John Harle and Paul Clarvis. Investigate! There is a bargainous CD (also on Spotify) of this work with Earth Dances (essential, core Birtwistle) and Triumph of Time.

Well, I see the "Other VV" tapes on a CD set, (lower right quadrant), so along with the LP's I think he's got it all. Also no "One Down, One Up, Live at the Half Note," but it's likely on one of the LP's. He doesn't look like one of these guys who has to have everything on CD as well as LP. Not all. I'll let you off though - one apology thread is enough for this week

No VV CD set. Almost as if he's not really interested in music.

He might not be sorry, but he's sure as hell guilty.

got, got, got, got, not got - NOT GOT? - no, wait, got (phew), got, got ... nice image

I guess Keiji by himself is definitely not jazz. He has got some of the best though.

I guess that one has an artist's signature (?) Not jazz, you might argue.

He isn't sorry really. Not one bit.

Brilliant Classics are doing a near-complete Shostakovich, mainly Russian recordings. Whooda thunk there was so much of it: http://www.europadisc.co.uk/classical/106280/Shostakovich_Edition.htm

I have read Tyler Hamilton's book cover to cover (well, on kindle). It is a fascinating read. More than the EPO, which is just a little injection, it is the blood bags which really turn your stomach. If like me you followed the Tour over those years this book is a real revelation about what was actually going on. It's also a really engaging human interest story. I'm not one for sports books (training manuals occasionally, biographies etc. never) but I recommend this. Oh and did I mention it's quite a sad story really?

Well, I was in Harold Moores records and Foyles (where Ray's Jazz now resides as well as a classical section). It was Saturday morning and there were no customers in Harold Moores and maybe one or two in Foyles. By contrast we were in the new London branch of Victoria's Secret, where I guess the item-price is about the same as a CD shop, and the stuff was walking out the door. In central London you need to be selling stuff hand-over-fist to survive and I found myself wondering if these two outfits were near the end (not Foyles itself - well, I did wonder that actually - but the record store part). Couple of weeks ago I was in Lou's Records (Encinitas, CA). Though they reduced their premises they now seem to be surviving in some kind of niche, with lots of specialist indie and links to local bands, something a bit different from the 'CD collectors' model, but still surviving if not thriving. So how about near you? How many stores do you see that look at or near the end?

Inevitable. Downloading is beginning to look like no more than a hiccup in audio history.

Their stuff is on Spotify.

And this apparently is the cover of the 1962 Japanese release... Bet Howard Ramsey loved this.

Spotify is squeezing out the download.

http://www.amazon.co.uk/gp/aw/d/B0001RBFIS/ref=aw_d_iv_music?is=l&qid=1347699326&sr=8-19 Anyone heard this snippet of Ornette?