John L

So is this one of Nica's cats?

Ah, yes. That is a good one. It has been released under quite a number of different covers and titles. A few releases called it "Nothing But Soul." Interestingly enough, Howard McGhee was the leader of the session, as indicated on the original Argo release:

What recordings are these?

Bunch of failing musics? I don't see it that way. Go-Go, or whatever you want to call it, draw on whatever is out there to play something that soul/funk-generation adults can REALLY boogie to now, in real time, no bars spared. This is dance and party music of the first degree. A Chuck Brown concert is always a genuine thrill and one hell of a party. This is music of the people, by the people, and for the people. If most of it is not also music for the ages, so damn what.

That Hip Hop might be dead is a disturbing thought. Is music now dead?

Nice! Thanks.

With Bird, there exist so many fragments of music in poor sound that it almost makes little sense to issue it all together with the rest of his discography. So I can understand Fremeaux in this case.

I was at the first concert of this music in Paris about 10 years ago. It was quite enjoyable.

They've never had instrumental music programs in urban schools in West Africa. And the governments that sponsored bands in the sixties and seventies fell to the World Bank. Most of the bands are young, not old guys (though there are some of them still about). I'd think that your argument was special pleading, but I know you're not in the jazz education biz. MG Point being simply that there was a fundamental change in the "tools" that were widely/generally available to the inner-city American youth, but not a correlative diminishing of creative energy or impulse. So instead of saxophones and trumpets, you get people starting to work with records and turntables, and practicing rhymes and flow instead of scales and arpeggios. Also in West Africa - people started making music with saxophones, trumpets, trombones, guitars, basses, electronic keyboards (and a bit later turntables), none of which were widely available to inner city West African youth. I did say I wasn't arguing against you. The point I was trying to make was that in America, inner city youth weren't compelled by the system to take up turntables, any more than in West Africa they were compelled by the system to take up saxes etc - they did so from plain choice, to make the music they heard in their heads. MG I think that economics does have something to do with it. Even back in the golden age of West African music, I understand that many of the single string guitar styles that emerged came out of guitarists playing rhumba horn lines because a horn section was too expensive. New technology has empowered many people on the streets with the ability to produce hip hop at a rather small cost. As far as West African music is concerned, I find it a bit disappointing that so much of the Hip Hop being made now retains so little African roots. Much of it sounds like it could have been made in L.A. In fact, a lot of it probably is.

It is not the entire picture, just a beautiful snapshot. It is all Columbia material except for the 1940 small group date with Benny Goodman and Charlie Christian.

No. There is also nothing here from Decca. But don't let that stop you.

"Take out the papers and the hash." But that is awful close...

RIP

There are plenty more covers to waste your money on:

Let's phrase it differently then. A drug seller will ask the highest price he can get on the market, whatever his costs are. Generics are cheaper because the maker can't ask the same price as the original, because at identical price, the buyer will prefer the original (although it may not be better than the generic). Look, a generic drug is fungible in a way a generic CD is not, and so any putative preference for "original" as opposed to "copy" with respect to the latter, cannot be analogized to the former. The high price of a brand name may indeed be related to monopoly rents from a patent. But once the patent runs out, the difference in price should be explained primarily by the willingness to pay of consumers. On the contrary; the elasticity of demand is lower than the elasticity of supply. The question here is not one of the elasticity of demand or supply, but of different demand for differentiated products in the eyes of some consumers.

Let's phrase it differently then. A drug seller will ask the highest price he can get on the market, whatever his costs are. Generics are cheaper because the maker can't ask the same price as the original, because at identical price, the buyer will prefer the original (although it may not be better than the generic). Look, a generic drug is fungible in a way a generic CD is not, and so any putative preference for "original" as opposed to "copy" with respect to the latter, cannot be analogized to the former. The high price of a brand name may indeed be related to monopoly rents from a patent. But once the patent runs out, the difference in price should be explained primarily by the willingness to pay of consumers.

Not that you couldn't guess it from the drawing on the cover.

A book of Prokudin-Gorsksii color photos of tsarist Russia was published some years ago, although they may have been different ones. I'll have to look.

Sounds fantastic. I am particularly interested in hearing that early Roscoe Mitchell.

The pricing strategy for this type of book is the following: Libraries will buy the book at almost any price. So the publisher has to estimate if the additional copies sold to the public at a lower price would be sufficient to cover the losses in revenue from sales to libraries and those willing to pay high at a lower price. When the subject of a book is a bit obscure for the general public, the aim is to sell primarily to libraries and fanatics who will lay their money down in any case.

That is a nice piece. Thanks.

The same trio recorded The Moment on Entropy records a few years before that. I actually prefer that recording to Morning Song.

No Teddy Wilson is no way to go through life. On the other hand, if you have Billie Holiday's classic work on Columbia or the Benny Goodman trio/quartet recordings on RCA, then you have some of his best recordings.

RIP