sonnymax

Forgive me, but I'm unclear about your answer. Yes, Ephemera was released on LP by Spotlite. Are you saying that the CD you own was also issued by Spotlite?

I was unaware that Ephemera had been issued on CD. What label did it appear on?

Although Ephemera is available for download, that there are complaints about the sound quality. On eMusic, customers claim it's a needle drop from an inferior LP. This criticism could apply to the Ephemera files from other music download services as well.

Friends? You mean "customers", don't you?

I just received an email announcing the artists scheduled to appear at this year's Newport Jazz Festival. I've enjoyed attending the festival the past several years, after staying away for more than a decade due to the preponderance of smooth, crossover, and "big name" acts. With George Wein's renewed involvement in the festival, there was some assurance there would be a variety of music jazz styles presented, including non-mainstream and avante garde acts. This year, however, the absence of Mr. Wein's name from the announcements and a new sponsor may have something to do with a renewed emphasis on booking performers who highlight many of the other "jazz" festivals, i.e., acts that attract larger numbers of less serious jazz fans. Certainly there are some adventurous artists scheduled to perform, and Sunday looks like the better of the two days, as far as my taste in music goes. Anyway, here's what they sent me: Friday, August 5 at the Newport Casino/International Tennis Hall of Fame Michael Feinstein "Come Fly With Me" with special guest Joe Negri Wynton Marsalis Saturday, August 6 at Fort Adams State Park Wynton Marsalis Esperanza Spalding & Friends I Eddie Palmieri Latin Jazz Band Al Di Meola World Sinfonia Hiromi Michel Camilo "Mano a Mano" with Giovanni Hidalgo and Charles Flores Mujeres De Agua by Javier Limón featuring Buika Trombone Shorty & Orleans Avenue Regina Carter's "Reverse Thread" Steve Coleman and Five Elements Joey DeFrancesco Trio Grace Kelly with guest Phil Woods Ambrose Akinmusire Quintet Mostly Other People Do the Killing New Black Eagle Jazz Band Sunday, August 7 at Fort Adams State Park Hiromi: The Trio Project featuring Anthony Jackson and Simon Phillips Esperanza Spalding & Friends II Angélique Kidjo Jame Farm with Joshua Redman, Aaron Parks, Matt Penman and Eric Harland Charles Lloyd with guest Zakir Hussain Trombone Shorty & Orleans Avenue Mingus Big Band Ravi Coltrane Quartet Randy Weston's African Rhythms Trio Miguel Zenón presents the Puerto Rican Songbook with conductor/arranger Guillermo Klein John Hollenbeck Large Ensemble Avishai Cohen Triveni with special guests Joshua Redman and Anat Cohen Apex: Rudresh Mahanthappa & Bunky Green Brubeck Brothers Berklee College Of Music All Stars Artists subject to change. Artists not in play order. Schedule with times to be posted in July.


Sorry, but this poll/discussion is a non-starter. Even in cases whether the master tapes have been lost or destroyed, we have the technology to make acceptable reissues from vinyl transfers. You can argue that "big business" will never reissue this title or that, but this is no more than fear and speculation. In recent years we've seen the release of some great jazz that no one knew existed. Who knows what the future will bring, especially as digital downloads reduce the costs of putting out physical product. The real answer to the question of "music that will never be heard again" is this: every live performance that was never recorded. Many times after a great jazz concert I've reminded myself that I was witness to something very special, something that no one else will ever experience, aside from the musicians, myself, and the other people in the audience. It's what makes jazz so meaningful, those precious moments of improvisation, communication, and exultation. As Eric Dolphy said, When you hear music, after it's over, it's gone, in the air. You can never capture it again.

The first pianist to have a star on the Hollywood Walk of Fame, Roger has 21 Gold and Platinum albums to his credit...Roger’s music has served as the soundtrack to the lives of three generations, and he burst upon the music scene when he recorded Autumn Leaves in 1955...He has performed at every major venue, with nearly every major symphony orchestra, including the afore-mentioned Carnegie Hall, the Hollywood Bowl, and the White House. The latter has earned him the title of “Pianists to the Presidents,” having played for nine chief executives...[Williams says] it made me very proud that one critic wrote: ‘Roger Williams has raised the so-called elevator music to astounding new heights, and as a result, it has certainly established him as the greatest popular pianist in history.’” Zowie! Mr. Piano

The 18th Century was the "Age of Enlightenment". Currently, we are living in the "Age of Entitlement".

The fact that these reissues carry the dates "1995" and "2003", along with the price and vendor, suggest this is an older reissue series featuring remasters that are over 15 years old. Still...

Improbable?

National Pie Day (January 23rd) is happier.

Coincidentally, your name translates to Race Riff No and Fan Crier Of.

That's all well and good, but try running Chuck's name in the anagram generator and see what you get.

It would appear that I'm many things to many people: To naughty anatomists, I'm Rib Over Tit To steel-working astronauts, I'm Orbit Rivet To computer-toting anarchists, I'm Bit Rev Riot And to all you jazz hounds, I'm leader of the Rib Vet Trio

To those who dismiss or "don't get" Bruce Springsteen, I recommend listening to The Wild, The Innocent, and the E-Street Shuffle. It's all there, and it's all good (actually great, imo).

For me, Billy Joel is a guy who's had pop hits that I enjoyed listening to on the radio when they were popular. But when I hear these same songs years later, I really don't like them. They sound too, I don't know, calculated and superficial. I never purchased any of his albums, and I really can't imagine ever wanting to buy one in the future.

Damn, what a killer line-up! Saxophones Marty Ehrlich-Soprano, Jimmy Cozier-Alto Bill Saxton-Bob DeBellis-Tenor Howard Johnson-Baritone Sax, Contrabass Clarinet, Tuba Scott Robinson-Bass Saxophone, Sarrusophone, Contrabass, Saxophone Trumpets Lou Soloff, Stanton Davis, Eddie Allen, Reggie Pittman, Stephen Haynes Trombones Gary Valente, Alfred Patterson, Craig Harris Earl McIntyre-Bass Trombone/Tuba Bob Stewart-Tuba French Horns Vincent Chancey, Mark Taylor Rhythm Section Onaje Allan Gumbs-Piano Benjamin Brown-Contrabass, Electric Bass, Tuba Warren Smith-Vibraphone, Marimba, and Percussion Buddy Williams-Drum set, Percussion Satoshi Takeishi-Asian Drum set, Percussion William Bausch-Timbales, Percussion Richard Huntley-Percussion Joseph Daley-Composer, Conductor, Euphonium, Tuba

Giant Steps in its entirety: soundcloud

shit just keeps gettin' crazier and crazier.

Here, Here!! My brother visited England in the mid-seventies and gave me a copy of the early Modern Jazz: The Essential Records 1945-70. I loved it, having never before read a book in which jazz was discussed in such a thoughtful and engaging manner. I've also enjoyed Harrison's contributions to the subsequent books The Essential Jazz Records Vol. 1 - Ragtime to Swing and The Essential Jazz Records Vol. 2 - Modernism to Postmodernism. There's no comparison between the Penguin Guide and AMG. The former is a vast collection of critical reviews. At best, the latter offers some help in sorting out what's been issued and might still be available. The inaccuracies and outright errors in the AMG far surpass those in the PG, and the vast range of reviewers employed at AMG greatly reduces the reliability of the opinions offered, when the reviewer has actually heard the recording, that is.

Richard Cook passed away in August of 2007. Although he didn't live to see the completion of the ninth edition published the following year, I think it's wrong to view this "last" Penguin Guide as anything less than a Cook-Morton collaboration.

I got a rock.

Congratulations Newk!

and yes,

Ho hum, yet another rehash of the genius = madness hypothesis. I wrote a graduate research paper on creativity and madness 20 years ago after some pompous windbag in my abnormal psych class pronounced, "Van Gogh would not have been Van Gogh were he not mad!" There's even a conference on the subject held in Santa Fe every year. My research came up with some interesting findings: 1) "creativity" and "genius" are not static concepts, but have changed significantly over the centuries; 2) an artist deemed a genius is more likely to be seen as "touched by madness", and an artist's disturbed behavior tends to be viewed as a reflection of their genius; and 3) If you examine the quality of the work produced by artists suspected of having been psychologically disturbed, you are likely to discover that their best work coincides with periods of relative emotional health and stability, rather than episodes of psychological turmoil and instability. All too often, authors of these kind of papers highlight the rate of an artist's productivity to support their argument, equating quantity with quality.