Ken Dryden

Years ago I saw Jerry Coker in Knoxville opening for Dave Brubeck, when Coker was part of the UT faculty. It was a fine set, except for his wife Patti’s attempt to sight read the lyric to Brubeck’s “In Your Own Seeet Way,” with the composer sitting just offstage.

I haven’t become a paying member yet but it was interesting hearing a rare dub of the Art Tatum Trio on the air circa 1943-1944, something that was unknown when Arnold Laubich and Ray Spencer published their Tatum discography.

When D’Arnaud is activated by the Braves, Ozuna needs to be given his walking papers. He is as about as useful as Pablo Sandoval was at the end of his career with the Braves.

Where can you find this cd? The only copy I see today is on eBay for a ridiculous price. it’s been on my Discogs want list for some time.

Marian was open to inviting guests outside of jazz. She wanted to get Floyd Cramer and Keith Emerson, though neither ever made a guest appearance. Even though Emerson played a little jazz, he sounded like he wasn’t comfortable in that setting, according to what Marian shared with me. It would have been interesting if he had gone on the show.

I couldn’t stand Paul Schaefer. He was a complete disaster on Marian McPartland’s Piano Jazz.

The Braves need to bite the bullet and release Ozuna. The guy can’t hit anymore and his weak arm makes him a liability in the outfield. If he remains under the Mendoza line, that could happen.

Sometimes the artist knows better than the producer about sequencing. When The Art Tatum Solo Masterpieces was issued as a CD boxed set, it was in the order of recording. I liked it better than my earlier LP set.

My comment was more directed at film critics. One in particular from years ago regularly praised films that I hated. The 100% opposite taste comment was not something I considered to a two way street. I still remember wasting time and money seeing the unfunny comedy Between the Lines in 1977. I was coming up with better lines from the audience and getting more laughs, too. We finally gave up on it after twenty minutes or so. We should have noticed all the scowling faces from the previous showing as people exited and one woman remarked, “What a waste!”

That was certainly true for me when I started collecting Jazz. There is also the occasional writer whose taste is so opposite mine that I can easily skip any recording or film which received high praise from him or her.

A review might prompt you to check out an unfamiliar artist or possibly re-evaluate one that you dismissed in the past. There simply isn’t enough time in the day to sample ever new release, let alone hear it all the way through.

Unless there is a photo of a jazz journalist or I actually met them at a JJA meeting, during IAJE or in a jazz venue, I often had no clue as to the race of the writer.

It is hard to imagine any writer thinking of himself or herself as a “gatekeeper.” I write about artists whose music I enjoy and have no clue what the racial breakdown would be of artists I have reviewed, interviewed or made the subject of features. A lot of assignments have been entirely up to editors. I do have complete editorial control of my radio program. This new JT owner reminds me of those who buys a restaurant then immediately make drastic changes to the menu. Soon they are gone. BTW, wasn’t Crouch fired for habitual late copy?

Apply to write for JT and tell them you "identify as African-American" since that seems to be acceptable for so many other categories these days...

Another great loss to the world of jazz.

I let my Jazz Times subscription lapse years ago. One of the last straws was a writer who couldn't tell the difference between Herbie Hancock's "Dolphin Dance" and McCoy Tyner's "Passion Dance," neither of which is an obscure composition. The idiotic rambling memorial piece on Wayne Shorter in the magazine by some editor none of us has ever heard of was pure shit, like it was someone who barely knew how to write about jazz. I won't be subscribing or even visiting their website. It's a safe bet they will alienate many of their current subscribers with the writers they recruit and the magazine will be circling the drain within two years.

There are some strange people running businesses, but it will be interest how the lawsuits in this case are resolved.: https://thisistrue.com/weenie/?awt_a=6Ckr&awt_l=MIOW6&awt_m=K5iuP0ZUNyAPkr

Looks like I need that Fritz Pauer LP.

Both Jimmy Heath and Benny Goldings published autobiographies, so maybe we should check them.

Sorry, I had the label confused with one of those European labels that puts out PD box sets.

Do any of these labels pay royalties? I have my doubts about Real Gone Music. Mosaic has to honor US royalty laws, so that is an added expense.

As for those pushing full releases of licensed albums as individual CDs with bonus tracks, Mosaic tried that with Mosaic Singles. Unfortunately, that series evidently didn't pay off, because like the 3 CD Mosaic Selects cube boxes, that line is history. Evidently the acquisition + production costs and sales didn't produce a sufficient profit. Unless someone is ready to put their money with their opinion and financially back one of their suggested boxed sets, I think I will leave it to Michael and Scott to run the label.

I think adding the original art to the booklets would substantially add to costs, especially if done in color like the original releases. It is great having a box that is thorough with detailed liner notes and session photos. When you consider the times when Mosaic had sales, particularly for several of the sets licensed from Capitol, it is obvious that they have to be careful what music they license to create them. They want to make a decent profit for their considerable investment of time and money.

Didn't Benny Goodman leave Yale University his unissued recordings? You would think that Yale would welcome the additional income, although they are one of the most endowed universities around, since some of this stuff was likely duplicated over the years by engineers then leaked to European labels that don't pay royalties.

Either inheritance, estate sales, auctions...