David Ayers

I see that the studio portion of Willisau 1991 is about to hit the, uh, racks...

Very nice. And makes me wish I’d kept - or kept a record of - more of the exotic mailings I’ve received over the years...

Although who knows really how their matrix works. I ordered an item today at a good price and saw that the price had gone down immediately after I ordered it. Usually if you order an item that has been descending in price it leaps back up. PS yes I’d have been surprised if this had been limited - if you can’t sell Miles and Coltrane...

“ the place where hits happened always happened” ! For the rest, just seems to me that’s a reasonable generalisation in the context of a book review, although ‘huge hits’ seems to be an over-the-top of what hapened with Manne/Previn and the follow-ups (did we mention Peterson). I don’t go to New Yorker for my history, find it to be mostly naively over-written guff even where the material covered is worth knowing about, and have noted Gopnik’s name there. Maybe he looms large for you, just a page-filler for me. Those cartoons would look wrong if they weren’t surrounded by print. re. the writing of history, that’s never going to be a straight line. And journalism is a significant object of study in any history, so. PS I tried to find sales figures for the Manne album and can’t, not even a standalone let alone in period context compared to popular/jazz sales.

Not up to speed on this. What do we know about this being limited?

Cool. A couple of my favorites are missing...

That music- like existence - is a big comic nothing - ?

This thread is ridiculous. You mistranscribe Gopnik at least twice, despite lectures on fact-checking. You don’t actually challenge his central point about the “fault line” (not “fault” as you currently have it) in popular music history, as between the dominance of show tunes pre-1964 and the switch of pop with the Beatles etc. away from that. So Sinatra just maybe a bit involved in musical theatre and film and Beatles maybe a bit less so. All said by the author in passing only in order to say that ALW came in to musicals at a point when they were less than dominant.

Many Koita albums appear under the name Amy.

FWIW, Sony have popped the whole Bailey set up on Spotify.

Did you go for the A-side only set or the frustratingly incomplete A + B side set?

That album was released on CD in 2007. only three of the six tracks are on youtube the album features in discographies as Djamba Kono I can’t be sure of CD date as the reference I found may refer to the date the disk was entered on the afrisson database http://www.afrisson.com/Ami-Koita-2038.html

Are you sure you have the title of that album right?

I don’t know. I don’t like that sssion and sold my copy because, while it is a striking event, it doesn’t work as music. Yes, Davis wants to deliver a show, Coltrane is evidently exasperated and wants to roll out his new stuff. So be it, but not one I keep wanting to hear again.

Maybe as Bells in clear vinyl - ?

The Barron set is Jim’s invention. He thinks if he says it often enough and doesn’t tread on the cracks in the sidewalk...

Can’t wait for the Barron. Will it include the unissued date with Don Cherry?

As with Jarrett and standards, not quite sure of the premises. So we play the head, more or less, referencing at least some of the chords, and then - fun at first, I suppose.

Perhaps they are emptying the premises in order to vacate. With stock and shipping outsourced, maybe they no longer need so much space.

I was stopped at JFK with a suitcase full of rotten tomatoes. Agricultural produce, apparently.

Crushed but unvanquished!

That’s a soft-pack set, IMO.

Spotify uses the same principles. Some copyright owners withhold tracks to encourage download sales, I assume. Which tracks are withheld in some cases seems to vary, so may be decided by a matrix. There can also be reasons of copyright for selective withholdings. Most labels including the majors do this infrequently if at all. Why not take a free look at spotters to see how it compares?

Just giving Funny Rat another spin.

Props here for the William Parker and David S. Ware releases on AUM mentioned by Sonnyhill. Both include a bit of drift but nonetheless very pleasurable. Not a big new listening year for me in any genre - when I have the time I just rake over old coals... much of which I can’t remember or never played when I bought it...