sonnymax

PM'd you, Brad.

...Than They Do. Hey, as long as we're making ludicrous comparisons, why not? Ain't That A Shame Tutti Frutti Good Rockin' Tonight (and yes, I know GRT is by Roy Brown)

I think you're safe. First off, your name isn't Heather. You're not "just stopping by" to hip us to a "new and exciting artist" that everyone says is the "future of jazz", etc. Those folks we eat with a side of fava beans and a fine Chianti. Welcome.

I am very sad to report of having received word that Fred Anderson's famous and much-beloved Chicago jazz club, the Velvet Lounge, is gone forever. Following Fred's death last summer, the club was run by his two granddaughters. In the absence of a formal will, a family dispute erupted involving Fred's two sons, and the club's staff walked out shortly after Thanksgiving in support of the granddaughters. Although the closing was supposed to be temporary, Neil Tesser reported in yesterday's Chicago Examiner that the Velvet as we knew it is now gone forever. This is a sad and bitter end to a musical experience that was a long-standing labor of love by Fred, the many musicians who performed there, and the countless patrons who witnessed live performances of creative improvised music that often challenged, sometimes enlightened, and almost always entertained. One of my fondest memories of the Velvet is flying to Chicago two years ago to join up with my good friend Mark to share the privilege of attending Fred's 80th birthday celebration, a week-long series of concerts that carried a very positive and loving vibe, a fitting tribute to "Baba Fred". There is some glimmer of hope amidst the terrible sadness: a group of musicians and supporters calling themselves the "Velvet Birdhouse Coalition" is scheduled to present a concert in Chicago this weekend. This is supposed to be the first in a series of performances honoring Anderson's legacy. I hope this proves to be true, and that something more creative and loving will grow from this event. R.I.P. Baba Fred and the Velvet Lounge. Long live the spirit of the man and the club. Read further about the sad details here: Chicago's Velvet Lounge closed in family dispute And here: The Velvet Lounge is dead; long live the Velvet Birdhouse Coalition

Steady With Teddy (1946-1948) Howard McGee (tp), Teddy Edwards (ts), Dodo Marmarosa (p), Arvin Garrison (g), Bob Keterson (b), Roy Porter (d). Hollywood, October, 1946. 1. Up in Dodo's Room 2. Dialated Pupils 3. Midnight at Minton's 4. High Wind in Hollywood Benny Bailey (tp), Teddy Edwards (ts), Duke Brooks (p), Addison Farmer (b), Roy Porter (d). Hollywood, July 1947. 5. Steady with Teddy 6. Bird Legs 7. Roy's Boy 8. Rexology 9. Out of Nowhere 10. Three Bass Hit 11. R.B.'s Wig 12. Body and Soul Teddy Edwards & Dexter Gordon* (ts), Jimmy Rowles (p), Red Callender (b), Roy Porter (d). Hollywood, December 4, 1947. 13. Hornin' In* 14. The Duel* 15. Blues in Teddy's Flat Teddy Edwards (ts), Herbie Harper (tb), Hampton Hawes (p), Iggy Shevack (b), Roy Porter (d). Hollywood, October 1947. 16. Teddy's Tune 17. Wonderful Work 18. Fairy Dance 19. It's The Talk of the Town

People didn't realize Led Zeppelin was "covering" other people's music because they stole credit for the compositions. Willie Dixon and others had to sue them to get the recognition and compensation they deserved. While they weren't alone in this practice, such theft and plagiarism shouldn't be confused with those who publicly acknowledge another artist's talent by covering their tunes. So...they aren't covers because...Zeppelin didn't acknowledge them as such? That's how I view it. Others are free to disagree.

Does this mean you're not particularly interested in hearing new jazz releases like the two I mentioned, or new titles from similar labels?

Like Bing, you're an angry drunk.

Agreed, although I'm confused by your civil tone and thoughtful choice of words.

I just downloaded two recent releases on the Clean Feed label: Matt Brauder's Day In Pictures, and Dulces by Billy Fox's Blackbirds and Bullets. As an aside, I find it difficult to tolerate the obnoxious and disrespectful posts by various customers on eMusic's bulletin board. To be sure, there are legitimate complaints and concerns that deserved to be heard, but the nasty tone that permeates many of the threads is sickening. I've posted a few times myself, expressing my opinion that the prices and selection are usually better at eMusic than at other vendors. At least one disgruntled fellow responded that that's not the point. He and others accuse eMusic of lying, misrepresentation, and generally treating customers like crap. I get the sense that some of these people believe they've suffered some kind of personal injury, as if they've been betrayed by a thoughtless lover. So much drama, so little constructive conversation. Oh well.

That might be true in some cases, but the main force behind these claims are the musician's record company, specifically it's marketing department. I don't know how much input Scott has in his promotional campaigns, but he's got to expect some backlash from serious jazz fans when he's being sold to the masses in such an exaggerated and superficial manner. As I said before, I have checked out his music, and I am unmoved and unimpressed.

People didn't realize Led Zeppelin was "covering" other people's music because they stole credit for the compositions. Willie Dixon and others had to sue them to get the recognition and compensation they deserved. While they weren't alone in this practice, such theft and plagiarism shouldn't be confused with those who publicly acknowledge another artist's talent by covering their tunes.

I'm disinclined to investigate a new artist who's touted as "the next big thing" or "the future of jazz." That's what I often read in people's comments on Scott's recordings. Anyone who disagrees or who finds fault with his music is often attacked by several fans. I found it amusing to see one Amazon customer who objected to Scott's music being labeled as "dispassionate," citing his admiration for Wynton Marsalis to bolster his argument. It all smacks of a popularity contest, rather than a serious consideration of the music. From what I've heard so far, Scott appears to be a young, but capable musician. I just haven't found anything in his music to make me want to join his legion of devoted followers.

mwah ha ha ha!

Oh, but they will. Bend over, please.

Leave the door unlocked. I'll be right there.

"Appropriate mission"? Perhaps I don't understand what you're tyring to say, but isn't this how the LOC grants access to all the other music in its collections? Come to think of it, how is this different from the art collections held by all museums, universities, and historical societies? Where in the world can you just stay at home, sit back, and enjoy unfettered access to art that is owned and preserved by someone else?

Wow. I would have thought such news would be welcome on this board. You know, something along the lines of "Thank goodness. Now we can be assured that these valuable works of art will be preserved rather than lost, damaged, or simply discarded by corporate America." Instead, we get every negative angle imaginable, even the WTC (nice touch, Allen). Monday morning blues, guys? Okay, I've put on my flame-retardant tighty whities. Let me have it.

"For protection." Yeah, right.

Yes, you're quite right. "The Great One" also gave memorable performances in films like Soldier In The Rain (as Master Sergeant Max Slaughter), Requiem For A Heavyweight (as fight manager Maish Rennick), and Gigot (as a homeless French mute). Interestingly, Gleason not only starred in this last movie, but he also wrote the original story and music for the film! A very talented man, indeed.

I was a big fan of Gleason as well, but let's give credit where credit is due. Comedy writer Coleman Jacoby, along with his partner Arnie Rosen, was responsible for creating most of the characters you mention. Jacoby also wrote many episodes for TV's Sgt. Bilko, aka You'll Never Get Rich and later, The Phil Silvers Show, another childhood favorite of mine. Previously he had worked as a gag writer for the likes of Fred Allen and Bob Hope on radio. Mr. Jacoby died at age 95 this past November. In praising Gleason and other comedy giants like him, we should also honor the talented people who wrote the humor that they performed.

Why you are, ya big lug!

Big McNeil fan here, having a dozen or so of his recordings in my collection. Just downloaded an early one the other day - Embarkation on Steeplechase. Saw him and Bill McHenry perform at the Iridium a couple of years ago - very enjoyable. McNeil's one of those artists you wish more people knew about, one who deserves a salary that's commensurate with his talent. Thanks for the mention, Larry.