David Ayers

We must all now admire Ingrid Laubrock. Although Ingrid appears on Illusionary Sea, I only investigated her after I read an unhelpful review of her Zürich Concert in Downbeat this summer. By happy coincidence I was able to hear her tonight with Haste trio (Veryan Weston, Hannah Marshall) tonight. Oh my goodness. The most amazing tone throughout the tenor and a huge bag of original ideas. She is a real great and a must-hear. This was the first gig in a UK tour alongside Lauren Kinsella/Chris Batchelor/Liam Noble. I suggest UK-ites google forthwith to check for a gig near you. The tour ends at Oto on 9 October. Don't say I didn't tell you.

To refer again to my Adorno/classical paradigm, I'd be interested to hear if there are examples of very late innovations, rather than just great last records. Coltrane is the very obvious example of an artist who died while in full flow of innovation and invention. I'm trying to think of others.

Agree with Brad. It's a must. For me the SQ question is much more about different views of how to do things and I'll be interested to hear how it has been done.

Dotted notes. Absence of legato. Stravinsky liked pulse. You guys listen to so much jazz you have forgotten what it sounds like!

Why the need to wait? Why can't the samples properly reflect the files which will be used for the CDs? The opposite, surely. The samples are and must be reliable.

Re. Kowald: UK-ites might still be taking a risk on duties and charges...

Well, she said more about one album than anyone has ever posted on this board. She thinks about affect which most of us here struggle to discuss. If you read most record reviews, they are no more technical than this, in fact. I quite like reading someone who has ZERO interest in piling stuff up, getting the extra tracks, comparing masterings and, uh, all the extra-musical non-aesthetic stuff we usually bang on about. Jus' sayin'.

Glad you said that.

Very sorry to learn of this.

This thread makes me think of Adorno on (Beethoven's) 'late style' in Moments musicaux.

I guess I don't mind supporting things I care about. Things I don't support, it doesn't arise. It is a question of price structure, price point perception and absolute cost. I guess I've got my head round it by now. For baseball I go to the window though!

I'm interested to hear folks get on with itunes. I use it and understand it but find it laborious.

Agree.

Just heard Matsuev in Prokofiev 3 with LSO under maestro toothpick from ten feet away. I take it all back.

Re. storage - that costs you money ANYWAY - the hardware is also not free and is much more likely to fail than the cloud - in fact it inevitably DOES fail. Cloud storage isn't obligatory - and there are of course other options than Apple - but storage is never free....

Strange to think the iPod itself has gone the way of the home stereo...

Hadelich is no slouch either. DSO though is not cheap!

I hear piano concertos in concert all the time, but...

I love HH.

To love the iPod don't you need to love itunes? And - isn't itunes pretty old and clunky and no longer fit for purpose? PS probably significant that my iphone spell corrects iPod but not itunes. Though I now notice it doesn't correct iphone either. So....

I have heard many of the older and younger living greats playing piano concertos, some if them more times than I am really bothered about, and I realise that the concerto for piano outnumbers the violin concerto by far. But for whatever reason it is the violin repertoire I love. The piano concerto leaves me a little cold. More than a little in fact - I rarely listen to recordings of piano concertos and I don't have even one favorite which I keep rebuying (well, the Schoenberg I guess, but there aren't so many versions of that). The violin concertos I'll buy any number of times and never tire of hearing in concert even the ones I don't love so much. So - anyone else have a strong view on this?

Nice post.

On the subject of Old and New Dreams I see that the two ECMs are slated for re-release. Probably straight reprints but maybe part of the remastering program, who knows. As you were.

Don't the Ornette Atlantics fit the bill?

Strange maybe but while I can enjoy some or much of what he allows to happen around him I just feel he very consciously marketed an idea of "sophistication". Edited to add I hadn't seen Steve's post and just to report that I am long familiar with all periods of Miles, still listen to new releases and rebut and relisten to old stuff, but that I just never really believed in it. And while I own KOB and have even recently rebought it I haven't listened to it in many a year. Strange but true.