David Ayers

Heh heh. After home-taping killed music I'm surprised there is a note left to be heard anywhere.

Hardcore. But this way you sell at premium price to collectors and give nothing to torrenters they couldn't get anyway.

Whether for plugging gaps, extra tracks, sonic upgrades, or for the outer reaches of the catalog, these Japanese series have been really doing the business. I especially like the 75th anniversary series. The price is right on this stuff and with all this going on the lack of domestic issues is no longer an uh issue. IMO

Thanks for posting that, psu. I was also interested that I went into my local hi-fi shop to discuss new kit, and they were a bit surprised to hear that I might want to replace my already-not-bad SACD player. They said replace speakers and amp maybe, but keep the player and add add a Sonos Connect to stream Qoboz, which they consider of hi-fi quality. An indication that the hardware market is also going in this direction. Overall though I do think it is a question of the contracts not the technology. I also think that too much music is recorded and the drag of records and CDs was always how many you bought that were just not that good. I also think that recorded music should not be implicitly seen as the 'product' of musical activity. For the music I care for, classical and - less now in terms of what is out there - 'jazz', it is access to live performance which i care most about. That is easy for me to say, I realise, as I live close to a global centre for music and I can easily hear the best performers alive all year round. The argument used to be that contemporary jazz and classical recordings could not do that well as they compete against back-catalog. If you follow people's interests on this board you will see a division in both classical and jazz interests between those who mainly follow the past and those who follow the recent and contemporary, That argument as to disadvantage has disappeared in the light of the streaming argument. We also used to hear how online sales of CDs were destroying stores, again to the disadvantage of niche music which required knowledgeable staff to select stock and supposedly help consumers identify product. Niche music appeared to survive that too and that argument has faded. Classical music and opera, which are very expensive to sustain, may In Europe struggle to maintain their revenue streams but still basically have large audiences, so I don't see this streaming question as so very much of an issue for those areas. In jazz and improv, which are very much cheaper to sustain, I am not really convinced that there are important things out there which are being suppressed by streaming. There may be many musicians who feel they should realise more revenue from their recordings, but hasn't that always been the case? If you dig far down into any of the current jazz/improv labels, beyond the headline Braxtons and Brötzmanns, you quickly get to things which are, shall we say, OK, but are really not worth more than a listen. So the question to my mind is, is there really a problem? Are there activities we regard as essential that are being suppressed? Or is this just a discussion at the margins about people who, yes, would like to raise more money from recorded music, but for whom this would in any case be marginal, and who, if we want to suppor them at all, will do far better financially out of us going to hear them live than anything else?

Um...Machine Gun... Actually I have no idea - I was wondering the same thing myself very recently.

Re. fire, I was listening yesterday to the mighty Nipples. You'd hardly know PB and EP apart at first blush.

I guess it depends how you respond to Ike Quebec in general. I respond pretty well myself. I wonder who wrote that review. One of the most special recordings for me of that time. I guess it depends how you respond to Ike Quebec. I respond pretty well myself...

From a SQ perspective you might enjoy the more recent Whitstable Solo on PSI.

Law Years. Oh my goodness. Something to be said for working out a part instead of just "improvising".

IIRC, didn't we have a bit of a melt-down here where some or all of us lost our word count?

Here is the full list of titles, up to the 50th and last, on the ICP website: http://www.icporchestra.com/discography.htm

Oh and it turns out that 8 of the 50 are still available on CD - just not on amazon... http://www.subdist.com/cart/index.php?route=product/category&path=59_66

The originators have the right idea. They want their work to be heard. They have taken logical steps. The (currently) $1000 box set was aimed at friends, family, and fans. It was a testimonial, not commercial proposition. This is all about the (living) legacy at this stage. What they have done monetises that legacy and makes logical use of the digitising done for the box set. This work can now be heard throughout the world as it never could before. Maybe no-one will care but that's another story. Why didn't they just put it on iTunes to get the revenue? Some labels have archived only on iTunes, often at premium prices. My friend's company as done this - I'll have to ask how well it works for them. The company I refer to was and is very ethical in its practice towards artists. Would the ICP archive have done better only on iTunes? It is their decision of course, but at premium price for generally 40-minute albums, I am guessing most 'fans' will stick to their blogspot FLACs. My guess is that ICP are thinking about their legacy and status more close to home and have grasped that streaming is a way to generate interest. iTunes is cheaper - I think - than the box-set but I wonder how many interested people will lay down the $500 or so that it would cost to but all this stuff on iTunes. So I vote for their decision. Can't help you on which ones to listen to! The LPs are all so rare and the box set so costly that hardly any-one knows! I found this stuff only yesterday and I am going to pick my way through on Spotters.

Don't agree. Many people can now hear this music. How many could afford the deluxe box set? Or the original LPs? Like this the music can find it's own way in the world, for decades to come.

Wasn't sure where to mention this, but just noticed that what looks like the entire ICP box has made an appearance on Spotify. Instant Composers Pool These can all be purchased on iTunes but many will feel Spotters is the way to go....

Just three? My Magic Trackpad for the iMac has a four finger function as well. Either way, it IS really cool, isn't it? You won't get that kind of cool shit out of a mouse! Heh heh - got it!

I'm amazed how the trackpad has different functions for one, two or three fingers! Lot of trial and error to learn this thing...

The Lord disco, as useful as it is, brims with errors and inconsistencies of this type. It all depends on how careful you are when entering the data. One differening prefix letter in the order number of an album and you have another album in the database. Yes, bibliographers are more rigorous. That's why I started using BRIAN for my discographies, as it forces you to be as rigorous. The trouble starts with the term "discography", which refers to a disc, but it was introduced when there were only shellacs. In the course of history researchers had to face the fact that you have to return to the source where the music happened, the session, if you want to do it best. Imagine some music that was reissued in hundreds of formats, like a Miles Davis session. If you work album based, you have dozens of albums with redundant info. If working session based, it is much easier to oversee the whole situation. Look at http://jazzdiscography.com and you will get the idea. Thank you for the information and for the link. Much appreciated.

Well, there is just a spa When using the BRIAN database you would add a session footnote about it. Including album titles is optional as it is not a defining criterion for a session, especially with older material reissued in many differently compiled albums. With album based discography, however, you have a problem .... I would list both: title A / title B Things like this happen. While researching the Tjader disco I encountered one LP with different album titles on cover and label. Ah! Thank you. You wouldn't invent a new one though as Lord's did...

Tom Lord's Online Disco has this as: 12 Compositions, Live at Yoshi's Oakland (July 1993). Amazingly, what Lord gives does not correspond to any of the four titles on the product. Is it possible that discographies are not constructed rigorously as are bibliographies?

Noted!

Woohoo! Don't sweat the OS, David. I switched from Wind'ohs a few years ago. The learning curve might seem steep at first, but OS X is really quite intuitive and user-friendly, IMO. You may struggle with certain things at first, but when you finally figure it out you'll say to yourself, "now that makes perfect sense". And although I've only fiddled with MacBooks in the Apple store, the quality and build are superior to any other laptop. And that becomes apparent immediately. Have fun. And though I'm no Mac expert by any stretch of the imagination, feel free to ask if you're having a hard time figuring something out. Though, I don't use Office, so I'd be worthless in that department. I mean, more so than usual... Yes I will ask, thank you, although I am the first to tell people that systems are supposed to be intuitive and that you generally get there by trial and error. If you think it probably should do something then it probably does, so figure it out!

Well, the MacBook Air is here and it is a thing of beauty. Very light and strong. I am absolutely unfamiliar with the OS so that is a learning curve. No judgement on that yet. I am impressed by the way it sets up so quickly to e.g. share with my PC. The keyboard is beautiful and comfortable. I am downloading Office which is taking some time, so I am not exploring too much. The downside? Very clearly, the display is inferior. I wanted light and cheap(er) for working on the move. But I'd say that if weight and cost are less of a consideration then the retina display is probably a must. That's my impression so far.

With a book the catalogue title is the one that appears on the title page. From what mjazzg says it may be the disc that is used. However for a multi-disc set that might not work. Any discographers in the house?

Well, I'm asking about the discographical principle.