kenny weir

Done.

Wesbed, It was foolish of me to start specifying individuals when there was certain to be others who thank AAJ for their hospitality. In addition, Lon is among those who post at AAJ when they find a topic of interest. What irks me more is that whenever the world of jazz boards in general is discussed, there are those who seem to feel obliged to take an almight dump on AAJ, as if they by doing so they reassure themselves of their smarts in preferring somewhere else. Of course, it's a free world, at least in this respect, so there's nothing in the world to stop 'em if they feel so inclined I agree with you - it behooves us really to support all these initiatives, regardless of the differences in approach or philosophy. But again, each to his own. Back on topic: Who of the mighty Organissimo Army would really want to have a regular Tom Evered thread here? One of the real blessing of the BNBB Demise seems to have been that for many us of BN has become just another label, albeit a Very Excellent one!

Mike that may me be the case, but if so it is unintentional - whatever ban there was, it's my understanding it was based more on lengthy speculation about the fate of Organissimo when it was down by those who are Organissimo regulars. There is now space allocated there for just that purpose. I am one of those who feel quite happy here, at AAJ and JC - there are quite a few of us - and I just don't feel the need to profess undying loyalty to a website, let alone doing so by slagging off the "opposition". No big deal, though. Internet jazz is a really swell part of my life, but it's only a part. But I still find it a little icky that every time these issues are discussed at Organissimo there are those who feel the need to jump in and slag AAJ, even when - as is most often the case - the thread involved was never started with that purpose in mind.

I didn't say it's all business (as a reading of my post will testify), and surely it's possible to combine business and fun. For fuck's sake, if you don't like AAJ don't go there. Simple. BTW, I can not recall hearing any snide putdowns of Organissimo at AAJ. Unlike here. Pathetic. Yet AAJ is where the Organissimo junkies go when this board goes down - just hopping on when with their in-jokes and smugness and little grace whenever it suits them and then flitting off again without so much as a farewell, with the always honourable exception of JSngry. Grow up.

Leeway says: "That Evered notice has the smell of ego all over it. Really, of all the unmitigated gall (as they say)! Not blaming XRICCI- he's doing what he can for his site. But Evered knows that the BN faithful" are concentrated here, yet he chooses to blow us off. Frankly, it bugs me." Seems a bit of a stretch to me. This board may contain the greatest single concentration of former BNBBers. Combined with AAJ and JC and wherever, it may even constitute the single biggest block of potential BN reissue customers. Bur Evered's role as businessman - not as a buddy orhardcore jazz nut - would seem to require a broader approach. I say that as someone who is far from being a fan of many recent BN signings and releases.

White Light - actually, that's just a common usage name for an album that is rightfully called simply Gene Clark - is a beauty. It's a great place to start, although I can't name the other two on the info you have given. A double disc compilation might be a good way to go, depending ...

Hnmmm ... tasty flame wars.

Thanks to a nifty trade with another board member, I've had this set for a couple of months. It's sounding better and better. As these sides are early in the piece in terms of the west coast sound, they seem to have a more feisty hard bop feel and less of the glibness that crept in later on. I'm just about to order the Cooper/Holman/Rosolino box. To join the Chico Hamilton one I already own. Help me! I'm turning into a Californian!

Somewhere sounds great to me after having it a few days. I thought the trio's first BN album a little too downbeat (although I'll revisit it) and the second basically ruined by having too many guests. But this newie ... echoing a previous post, relaxed AND adventurous. A big plus is that, the obvious (America, Somewhere) aside, this material is all new to me. Lovely tunes.

http://www.xe.net/ucc/

The book discussed here is available via the website listed. Big media firms twisting intellectual property laws,professor writes By Richard Pachter Knight Ridder Newspapers (KRT) ``Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity,'' by Lawrence Lessig (Penguin Press, 348 pages, $24.95) (also available as a free download in a variety of formats atwww.free-culture.com). After a recent review of a book on the history of music recording and play back technology, e-mail from a London correspondent excoriated me for not respecting the rights of creators. I responded that throughout the history of popular culture, the status quo resisted many technological changes that were ultimately - and profitably - adopted. In the course of my research, I also discovered that industries and companies now among the most outspoken opponents of liberalized access and distribution of intellectual property were established under very interesting circumstances. I'd encountered an article in Wired magazine byLawrence Lessig, a professor at Stanford Law School, in which he excerpted from his new book. He wrote: ``The Hollywood film industry was built by fleeing pirates. Creators and directors migrated from the East Coast to California in the early 20th century in part to escape controls that film patents granted the inventor Thomas Edison. These controls were exercised through the Motion Pictures Patents Company, a monopoly 'trust' based on Edison's creative property and formed to vigorously protect his patent rights. ``California was remote enough from Edison's reach that filmmakers like Fox and Paramount could move there and, without fear of the law, pirate his inventions. Hollywood grew quickly, and enforcement of federal laweventually spread West. But because patents granted their holders a truly 'limited' monopoly of just 17 years (at that time), the patents had expired by the time enough federal marshals appeared. A new industry had been founded, in part from the piracy of Edison's creative property.'' In his book, Lessig also points out that Walt Disney's first big success, the animated short, ``Steamboat Willie,'' was an early example of ``rip, mix and burn''- the technique used by today's downloaders, mixers and other digital ``outlaws.'' That Mickey Mouse cartoon wasa parody derived from Buster Keaton's 1928 hit film,``Steamboat Bill, Jr.'' Indeed, as Lessig also points out, many so-called``Disney'' properties are based on works by the Brothers Grimm and others: Jungle Book, Pinocchio, Fantasia, Dumbo, Cinderella, Robin Hood and more. These stories did not write themselves or appear from thin air. Some were in the public domain or out of copyright. But that was in the day when copyrights had finite terms. Lessig writes that many big media companies -Disney among them - have subverted a fundamental aspect of copyright laws by extending their ``protection''almost indefinitely for their own benefit - not the creator's or the public's. Lessig writes about the music business (naturally), as well as architecture, copy machines, software, drugs and other aspects of what's been placed under the umbrella of ``intellectual property.'' It's an interesting and provocative book, and one thatought to be read by artists and others who make their living creating, buying and selling pieces of culture. The history and context of the commercial exploitation of creative work might help readers understand its future, too. Lessig's approach toward copyright is further evidenced in the fact that this book is available as a free download. He's also encouraged the creation of some very creative derivative works. Go towww.free-culture.com for more information. --- © 2004, The Miami Herald.

Speaking of which ... On my lunch break perambulations today I saw and snagged the 4cd final Winterland show set 2ndhand. For $20! It sounds great! I don't have any of the dick's picks, and other live stuff I'd heard was from the interent. This stuff's on a whole 'nuther level, sound-wise.

Gosh websed - I've been speculating about the HRS about my next (second) Mosaic purchase, along with a few others (think: west coast). But I can't imagine a more persuasive argument in the HRS's favour than the New Orleans > Ellington line. Hmmm ...

Fabulous - he's boasting about the number of hits he got via organissimo!

Well I'm so glad you've taken the phrase "know thyself" to heart. What a fucking moron. There's a heapa folks here who are players, and on another whole level from you, Dickhead.

First 45 (a gift): Don't Sleep In The Subway by Petula Clark. Still have a VERY soft spot for Pet's best, mostly penned and/or arranged by Tony Hatch and Jackie Clarke. Next 45: Windy by the Association First 45 purchased: Itchycoo Park by the Small Faces. Great tune, but it was the flip side I played over and over - I'm Only Dreaming is a simple pop masterpiece. Later on I also got the Faces' The Universal single. Other 45s I remember fondly: Lady Madonna by Fats Domino and Blue Greens by William Truckaway. A real lost classic: Avenging Annie by Andy Pratt. I had a radio-only thing for Spanky and Our Gang. I also had an album with the Mamas and the Papas' lovely "Twelve-Thirty (Young Girls Are Coming to the Canyon)" on it but had no idea WTF it was all about. After all that it was all downhill - Hendrix, the Animals, Muddy Waters, the Dead, Bob Wills, Doug Sahm, Professor Longhair, the Pistols, the MC5 and onwards!

Wow what a great read. Fascinating to find that so many people who are a regular part of my jazz diet were also anonymosuly part of my early teens fondness for great trashy pop. And I still dig all of it, but a shame that there was no mention of Johnny Rivers, for whom a lot those cats recorded.

I got that, too, after signing on - out of sheer curiousity - to become what they are calling "an AMG insider". I wouldn't bet on the service - which I uses dozens, perhaps hundreds of times each and every working day - staying free forever. But reading between the lines of this, it sounds to be like they've done their research and crunched the numbers and discovered that, for the time being at least, they'd lose more than they'd gain by charging fees. I'd be pissed off to lose use of their site, despite its flaws, but I'm sure I could find most of what I want/need through Google searches. It'd just a while longer, that's all.

While reading up about this set, I came across the following article in the Dallas Observer that I'm sure will be of interest to anyone who owns it. As a newspaper man, I admire this guy's ability to get such a long piece about such an obscure figure into his rag! http://www.dallasobserver.com/issues/2000-12-07/music.html

Hey, cool. But I don't think there's anything that unusual going here. As previous thread pointed, we read key words can get by without little ones. As en editor, I am always gratified how many words removed text without altering meaning.

Have you asked him about his tastes in, er, music?

Tony, the Spirit gig I caught had California, Cassidy and Larry Knight on bass. The support band was the Police. As I was full-on loving the hippy trippy likes of Spirit of '76 and Son Of Spirit at the time, I found the gig to be overwhelming volume-wise. It was very heavy and into the Hendrix thing. There was a live album from the show, but I am unsure whether it's this one: http://allmusic.com/cg/amg.dll?p=amg&uid=U...l=A43rc284c054a Or this one: http://allmusic.com/cg/amg.dll?p=amg&uid=U...l=A43rc284c054a

The Impulse! is pretty fine, although I find it never really catches fire after the blazing opener, Fuller's A La Mode. Another one that finds Blakey in a different sort of setting/feel is the Verve Elite with Joe Gordon and Gigi Gryce.

I have read some of these books, including the Gioia. But I've really appreciated and enjoyed the direction this thread has gone in and the contributions of Messrs Kart, Fitzgerald, Weill and others. I'm in no position to go out and order any of these titles but I'll pounce if and when I see 'em in the various secondhand bookshops I frequent.

After a hard day at the office ...