David Ayers

We have only heard her once or twice in London (http://www.telegraph.co.uk/culture/4720229/Staccatos-on-stilettos.html) but Simone Young has conducted more widely, is based in Hamburg, and is known for a handful of recordings, notably Bruckner and Wagner.

Well yeah the Tricentric is $13 so already outside your price bracket! Leo Records has many Braxton downloads at maybe $5.49 a shot (a few recent releases maybe more), kind of in the area, and you don't have to subscribe, you can just choose what you want (not take whatever they give you). Maybe you should check it out!

When in a hole keep digging. The point is that when the media come calling they don't call up some spotty lecturer, they call the President. Obviously if the President owes you a massive favor - like you rescued his grand-daughter from pirates - then you're gonna be fine.

http://www.bbc.co.uk/news/world-us-canada-12642898

Related to the thread which asked if you had one LP/CD you listened to obsessively. The question was if we still have one favorite we listen to repeatedly and almost obsessively, every day or at least several times a week. The operative word seems to have been 'one'. At least nobody listed a box set yet, as happened when we tried to do this in the classical thread (favourite five CDs - as opposed to compositions mais passons - and one list of about 20 included the entire works of Stravinsky as one item). I suppose the original question was about how we listen, and how we reconcile the way we used to experience recorded music with the way we experience it now (those of us with large and established 'collections'). We still showed our usual tendency to just post lists... anyway... The version of this question I was toying with before this thread came up, was how many jazz solos can you remember. That would be from beginning to end, in substantial outline if not perhaps with every decoration. Musicians and non-musicians likely have different ways of remembering music, and musicians are likely better at remembering since they know what they are hearing more or less, though since musicians understand what could be played in the same framework they may for that reason not remember what actually did get played. But the reason I ask is that on the one hand we are asked to believe that jazz is a music of substance, and principally the art of the soloist, but on the other it is hard to remember many of the solos, not least because many are schematic, the rules are quite graspable, it makes little difference what is played as long as it kinda fits etc. That might mean the music is not as substantial as we are asked to believe, and that really it is something else - and not therefore Beethoven by other means. I remember very few. I could go on but I'll throw it open.

Five minutes to get home and an hour to get back? Must've had a real heavy lunch...

That first one made my palms sweat too - and my palms never sweat. I didn't even watch it through - just ff-ed to the pull-ups.

We all were, Head Man, we all were....

Barefoot Adventure is on the Mosaic. It's an OK listen I suppose and I guess I've played it a few times, but if I lost it I might not rush out to buy another....

Yeah I've been thinking about this. Sitting and listening to a hi-fi kind of - dates a guy, if you know what I mean. I am starting to wonder how far I do it so much less because I am busy, or how far I just don't care to do it. Seems kinda passive. Maybe I just prefer doing stuff. If I *want* to access music I can access any amount, so if the time should ever come... Same for tv - no tv in the living room here. But there is a hi-fi (how quaint!). Maybe that should go too. No. Not yet. But one day, one day...

Oh "come on"!

Indeed. Thae aforementioned Laughing To Keep From Crying date springs to mind...Too often "profundity" is assumed to carry with it some kind of "symbolic" quality, some detachment between purveyor and recipient that allow the "weight" of the statement some room to float, lest it crush the recipient under its own weight. But Prez was not that type of man - he gave you what he had, how he had it, and on that fate, he was not in a good place physically, and maybe not mentally. Not being there, I don't know. Plus he had a clarinet sprung on him. But instead of looking for a generic "safe" place to play from, the man simply put it out there like it was - difficulty is breathing, in fingering, you name it, it was all there, and yet....there's a definite-ness to it all, and an authoritative overall design to those troubling statements that says, yeah, this is it. This is exactly how and where I am right now. Any questions? Didn't think so. Not just anybody can be that honest under those circumstances, ya' know? Alright. I haven't said it for ten years. But now something finally snapped. Jim, please stop putting scare quotes round your key terms. It's terrible style! Trust me, I'm a pro. Got that off my chest. As General MacArthur said, 'I'll be back.' Oscar, eat your heart out.

Well, I just got back from <brr>Moscow</brr>, so I get it.

Word. But what's all this <br><br> uh, shall we say, scheiss?

I have to agree. The music industry used to have a role, now much less so. It's main business is mass distribution of products with a wide market. Anything else is just taking a free ride on that. If that declines a bit, so what. The money for some time has been in playing music live - a few artists maybe make money on recordings, but my guess is those people are doing fine anyway. Recordings for most artists are a calling card, not much more.

Just a thought, but is it worth editing out the prices, which people might wish to know and might not easily be able to check?

I noted the end of the article where the parents mention their costs (1000s of $$) and say they wish instead of their son co-operating they had got a lawyer intially and he had exercised his right to remain silent. Take that back one step and the logic is he should have remained silent when questioned at school, since whatever he said there was presumably used against him, so to speak. The logic then becomes that the principal's office is but one step away from an interrogation cell, the teachers are the patrol officers, and anyone accused of anything at school should say nothing. For UK education shenanigans, and on a different note I guess, check out the story of 'Miss Rusty': http://www.guardian.co.uk/education/2011/feb/22/teacher-risque-novel-tribunal-result

This is like 'London Symphony Orchestra plays Lady Gaga' only in reverse.

There's a lot to be said for bricks and mortar. I was at Ray's Jazz yesterday (on my way to hear Bartok/Stravinsky at the RFH - just amazing) and they actually had stuff that appealed to me. Yeah costs more but at least it's simple.

Yeah as we were saying in the other thread things can take time crossing the Atlantic either way. I'm waiting for a set myself from Newbury. Maybe it hasn't even been that long but I am very impulsive. If stuff takes more than a few days to arrive I can lose interest by the time it gets here!

Well the price is good, its much cheaper and easier than getting the Galaxy. I like this music in doses and that seems like a good dose. A convenient way to find out of later Pepper is for you, well recorded though I can't speak for those editions. And they are sitting there waiting for you!

Um so er sympathy etc. Um er ... freak accident? Care to indulge the rubber-neckers?

Allen, are you a free jazz newbie? Where have you BEEN?

OK thanks Cliff. I'll spare you the effort of spelling it out. As we were also talking about RCA and about Carter/Bradford I had lost track of the thread.

CT, which estate are you referring to? You're being cryptic! And why has JH waited until now to reissue this material? And so far in a format designed only to reach CD collectors? That's life I suppose but it's a pity.