Daniel A

No, because:

I agree with everything said in previous posts. There are some artists who are totally dependent on the media industry marketing - those (IMO) without quality. To a large extent a new (yeah, I know Britney is finished, at least for the moment, but I'll take her as an example anyway) Britney album is a large-scale production rather than "Britney doing nice songs with sympathetic musicians". Almost everyone in the production - musicians, Britney herself (remember her voice is "fattened" with overdubs from various professional singers), even songwriters - is replaceable, except the producer, who in the end is an extension of the record company. I realize there are a lot of people who like the result, and so want the "product" - a product no small independent label would give them. But for "quality artists", I wonder if the marketing apparatus is crucial. I know that myself and the other members of this forum are not entirely representative of jazz "consumers" of today, but looking back at recent purchases of music of (to me) previously unknown artists, all of them have been upon recommendations on the internet. People will want music, and they will not stop searching out new stuff just because there is no Borders around any more.

It may still be an RCA plug problem, of course.

Without a working crystal ball I still have a couple of predictions about the future of music distribution: The compact disc will die There is no stopping file sharing So, how will the industry handle that? It may seem this topic has been up several times before, but I cannot recall too many inspired suggestions as to how the distribution will work a few years from now. The theory behind intellectual property law is that every artist is entitled control over his work. Supposedly, this has been widely accepted as a fair idea. Recent years have seen a new generation of downloaders, who think that (along with other things) music should belong to everyone. Now, I'm not too sure that people are suddenly disinterested in that the artists should be rewarded for their work (aside from the fact that much of the money never reached the artists anyway); I think most people bought their LPs and CDs without giving much thought to where their money went - they just wanted the product. Since there now is a free way of getting (almost) the same thing, lots of people are opting for that instead. So, many people don't want to pay anything for music, they will never pay - but on the other hand, they never wanted to. But there are also still people who do want to pay the artists something. Looking at the jazz scene i my own country (which I know better than ths US/"global" scene), nevertheless more music than ever is recorded. Looking back at the 80s, 70s and the 60s, a lot more artists are putting out discs (and downloads, for that matter, but so far only in a limited scale) today. But the difference is that more or less all of these are distributed by the artists themselves, or by very small labels. The larger companies are barely releasing new jazz any more. So it appears the last few years of massive downloading has not affected the variety of recordings available. I don't say that it won't in the end, but still it hasn't over here. Also, the interest for music of all kinds are, as I take it, greater than ever before. As much as I love a physical product, I think that in a few years we'll be downloading music from artist websites, paying directly to the artists. A much more uncertain area will of course be reissues of existing material. The media industry wants to earn money, nothing more. When they can't get anything out from their old tapes, they will stop their reissues (more or less already happened). If there still are people wanting to hear them, they will find their way out somehow, but perhaps more via audiophile/niche companies. My point is that there will be a way of recording, distributing and consuming new music, and I don't think that the major media companies will play a very big part in it. The big challenge will be how to revise the intellectual property law. Historically, I think it has not been as much to the benefit of the artists as of the media industry. I would need a crystal ball to see how rights of producers, composers, artitst etc. will work in the future. Thoughts?

Well, perhaps you could spin some mono album?

Yes!

The output signal from a phono cartridge is so weak that it would take something more than an ordinary RadioShack-ish multimeter to test it, but you Father-in-law may of course have some serious stuff.

I'm not sure about this, but I have a feeling it might be something wrong with the RCA plug. I'm thinking that if the wiring was OK all the way up to the arm, that would be enough to pick up some ground noise when connecting the plug. To me, no "click" suggests that the circuit is broken close to the amp.

I couln't be the stylus, since the channel separation is done by the cartridge. I think the most probable cause would be either the connection between the cartridge and the arm or in the cables/connection between turntable and amplifier.

I've noticed this in some other threads from around 2004. For some reason the missing posts are usually by Clementine.

I just listened to it and thought it sounded a little as Harold Land.

I took it Kari wanted to play the actual theme for 'Red Clay', but with a new melody there is of course no problem. But it's not like the changes for 'Red Clay' are that revolutionary, so then it isn't even 'Red Clay' anymore.

Regardless how much you rearrange "Red Clay" it would still be a Freddie Hubbard composition and thus subject to copyright. To make it OK, you would have to rearrange it into a completely new composition, and there is no definitive answer for when that would be.

Following CDs are scheduled for release. On December 19, 2007 SICP 1664 Lee,Keiko(vo) Beauty Silent 1000 BVCJ 38165(6 CD) V.A. RCA Jazz 100 3150 WACL 3008 Ijima,Masao(b) Gentle Soul 3000 On December 26,2007 KICJ 528 V.A. Boss Jazz 2300 KICJ 529 Winter,Niklas(g) Beautopia 2300 ABCJ 441 Imada,Masaru(p) Seeking Blue 2500 ABCJ 442 Imada,Masaru(p) Blue Eyes 2500 ABCJ 443 Imada,Masaru(p) Piko 2500 ABCJ 444 Imada,Masaru(p) Carnival 2500 ABCJ 445 Imada,Masaru(p) Songs On My Mind 2500 ABCJ 446 Imada,Masaru(p) Blue Marine 2500 ABCJ 447 Imada,Masaru(p) A Day In The Paradise 2500 On January 9,2008 PCD 93065 Arnold,Marcina(vo) About Time 2415 On January 16,2008 TKCV 35416 Rosenthal,Ted(p) My Funny Valentine 2800 TKCV 35417 Beirach,Richie(p) Summer Night 2800 On January 23,2008 TKCW 32205 Yamashita,Yosuke(p) Inner Space* 2400 TKCW 32206 Ambrosetti,Franco(tp) Close Encounter* 2400 TKCW 32207 Brand,Dollar(p)(Abdullah Ibrahim) Banyana* 2400 TKCW 32208 Rouse,Charlie(ts) Upper Manhattan Jazz Society* 2400 TKCW 32209 Geller,Herb(as) Birdland Stomp* 2400 * mini-LP style cardboard sleeve. Prices are in Yen.

The box is all studio sessions, so none of the Lighthouse recordings are included. The different Lighouses you've got are probably reasonably representative for the respective year of recording - during the decade covered by the box their sound and style changed from some kind of early 60s soul-jazz, via post-bop to a rather different kind of late 60s soul-jazz.

JSngry perhaps meant the musical notes as played by Mariano?

I think Jazzmoose rather meant that truth≠eBay feedback. I'm not defending the system which has its obvious flaws, but it will sometimes turn against sellers as well. There are unreasonable/clueless bidders who leave bad feedback for reasons like "I didn't like the film". EBay will neither remove that feedback (though of course the sellers will punish the bidders by leaving bad feedback in return).

Tributes, that is.

Honestly, I thought noone below the age of 25 was a "physical album kinda guy"...

I'm no Mac expert, but I take it there are USB devices (external sound cards) which work with a Mac as well. Try a Google search for "sound card" "macintosh" and "USB", and avoid anything in the sub $50 range as it's likely to be crap. BTW, here's a 6-page review of the Xitel INport.

Miles and Quincy Jones did Miles and Gil Evans... And lots of pianists have done Bill Evans.

I wish you a very happy birthday, Porcy! (And I'd also like to echo sidewinder's hopes for a vinyl-filled day... )

Chuck's post rang a bell, and a search came up with this: http://www.organissimo.org/forum/index.php...st&p=314510 Actually I've got two of the Saba/MPS albums in the set. The "Music for 4 soloists & band" album has some good solos from Hubbard, Shihab et al. No idea why two tracks are omitted from the box. The other album I've got is "As You Like It". Haven't listened to it in years, presumably for a reason.

Happy 194th!!!

'Jazz et Jazz - Jazz Experiments, conducted by Andre Hodeir' (Philips, mono) This album has some weird stuff, for example a backwards Kenny Clarke solo! Martial Solal is prominently featured.