bertrand

These are all positive traits in my book. Bertrand.

Any new coupons? Bertrand.

Are you saying that we torpedoed any hopes of Organissimo signing with Sony and Blue Note Bertrand.

Dug this up for some reason. Sad to think Webster is now no longer among us. I never got to say goodbye. Also, Grachan has stated that he had eyed Woody Shaw for this record, but Alfred wanted Lee. They should have recorded a second version of this record with Woody, just as a contrast! Bertrand.

It's playing right now on my PC - no problems! Whew. Bertrand.

Thanks. Claude, did you put it in your PC? Is there anyone here who put it in their PC and can confirm that the message did not pop up? In that case, I will feel safe. I'm just worried because if that bug does slip in, it will take me forever to get rid of it. Bertrand.

OK, last time I ask, but I'm chicken. I have a copy of Woody Shaw's Steppin' Stones from yourmusic.com. I plan to put it in my PC tomorrow and upload it to iTunes. The case says nothing about copy protection, and this title is not on the Sony recall list. So, my questions: 1. Can I put it in my PC without infecting it and introducing god knows what bugs? 2. Can I upload it to iTunes? 3. Can I make a copy for my 5-year old (who is the world's biggest Woody Shaw fan) for him to listen to on his portable boom box? He still has a tendency to put (often buttery) fingerprints on his CDs, so I don't want to give him the master copy to play quite yet Item # 1 is the one that worries me the most, of course. Thanks, Bertrand.

Some guy actually was sodomized to death by a horse recently. Of course, he wanted the horse to sodomize him, so I guess you can't really call it an accident. Bertrand.

It's amazing how few pieces recorded by Blue Note artists ever get played anymore. Only a handful became standards. I tried to remedy this by collecting a bunch of copyrights of these tunes at the Library of Congress, but it's generated very little interest. Of course, part of the problem is I can't xerox these things willy-nilly. But there is some interest in Lee Morgan stuff (finally, about 10 years after I dug up some 50-60 unrecorded tunes). Stay tuned to this station for updates. If you live in LA, mark your calendars for 1/30 (hidden pun intended). Bertrand.

Dan, 'Bertrand, I was just shocked that anyone would even comment on who writes the forward or expect anything of any consequence whatsoever from the forward. I'll bet dollars to donuts that Zawinul says something about how Horace's playing and compositions inspired him, blah blah blah, he's a jazz legend, blah blah blah. Blah blah' Ah - now I see where you're getting at. I must have not been super clear in my message. My point was exactly that - usually, forewords are useless, but because it's Zawinul, it might actually be something more. Zawinul is not actually a pro-bio kind of guy (he ripped his biographer Brian Glasser to shreds), so I'm kind of curious as to what he might have to say. Yes, there's a good chance it will be as you described, but there's a chance it might not be. Usually, I gloss over the forewords, but here I'll make a point of paying attention. That is what I meant. Ubu, Your reference was way too obscure for me! I couldn't read the fine print or the date. Bertrand.

What did I say that ticked you guys off so much? Obviously, I'm looking forward to reading Horace's book. I just find it interesting that Zawinul will write a foreword. That's all. Period. That's it. No need to invoke the specter of nazism. Bertrand.

Of course no one buys a book for the foreword. But forewords can be very interesting if they go beyond mere lip service, as I stated above. If Zawinul wrote something a bit different, it would be icing on the cake. Why the venom? Bertrand.

Johnny, If you get it and don't like it, I'm sure someone on this forum will gladly take it off your hands for what you paid plus shipping. It's a bird in the bush kind of thing. Bertrand.

Foreword by Zawinul? That will be interesting, as long as it goes beyond the usual lip service. Not the kind of guy I ever expected to write a foreword to someone else's bio. Bertrand.

Braxton is an interesting case. In theory, his titles may mean something to him, and may represent what he feels the composition expresses. A title does not necessarily have to evoke the same feeling in the listener as it does in the composer. In this case, the title may express something to him, and nothing to the listener. Or you may argue that he's a fraud and a poseur, and that his titles are just a put-on made to fool gullible pseudo-intellectuals I'm not going to argue either side, having hardly ever heard his music. One exception is the Woody Shaw album mentioned above. His playing gives me the feeling that I do not find his tonality on the sax particularly attractive, which is probably why I didn't really dig further. You will only get an argument from me if you refer to his song titles as 'mathematical'. They are most definitely not. Bertrand.

Yes. Bertrand.

Another example are 'Diversion One' and 'Diversion Two' from Woody Shaw's Iron Man. I think these were improvised by Shaw/Abrams/McBee, but I like the fact that they have a title. Bertrand.

An example, which doesn't exactly apply, but is parallel. Some of the pieces in the Hill Mosaic select were titled recently and originally were untitled in the discography. For example, 'Monkash' is now named after a doctor who is a friend of Hill's and who (based on a web search I did) is obviously a big jazz fan. Clearly, Hill did not write the song for him, but perhaps as he was titling the untitled tunes, he thought that this piece reminded him of his friend, and he decided to dedicate it to him. For me, it adds to my enjoyment of the piece (not that it is not great in its own right). Again, purely my subjective way of enjoying the music. I'm not an abstract kind of guy. Bertrand.

Doesn't change the value of the music, but titles (even on improvised pieces) sometimes can give you an idea of what might be going on in the improviser's head as he is improvising. Even if he/she titles them after the fact, I think it still can add to the enjoyment of the music. This is a purely subjective view, of course. A lot of people don't care, but I do. Whether or not they get copyrighted is his problem. Bertrand.

'Just found out that this is a legit recording, done especially for this purpose.' Did Dewey tell you where we could scare up a copy when you spoke to him about this Bertrand.

Do we have a track listing on this thing? The site just has 'Redman 1' parts 1-6. Of course, since it seems to just be an improvised session, this may be all the titles Dewey could be bothered with. This could be a dud, or, like the solo piece 'S 126 T' (another great title there) from 'Red and Black In Willisau', it could be a masterpiece. I NEED to hear this! Bertrand.

If all goes well, I will be there on 12/7. I called the pub and they said he will be there in December. Bertrand.

I'll set aside $9.95 from my music budget just in case this can be purchased somewhere. I'm a Dewey nut! He did tell me a year or so ago that he was plannning to use his Guggenheim grant to do some sort of video of a solo performance. I doubt this is connected, however. Bertrand.

Oh, and I agree with Chuck: he was burnning last night in a duet with Rashied Ali on a 50-minute 'Impressions'. The first set (which I did not attend) was 70 minutes of 'Love For Sale' and nothing else! Bertrand.

Sorry I was cryptic before, but I wasn't sure if the info was 'official' yet, so I was holding off. But here it goes: Sonny Fortune purchased the masters back for his 3 Blue Note recordings, and he will be releasing them as a box apparently as early as next week. Details will eventually be on his website. He's making his own Mosaic select, as it were! I heard it from Sonny himself last night, so it must be happening. That's why i suggested on holding of on getting Four In One, if you want all three. Bertrand.