Rooster_Ties

Maybe my favorite non-Miles jazz box. Good find!!

Time to shorten their season (not literally shorter, but fewer concerts over the same time). If people don't like it, they can pony up more $$$. The classical series in St. Louis was 24 weeks last time I saw. Kansas City is 14. I just looked, and Philadelphia was something like 4 weekends per month, 8-9 months of the year (some of that might have been pops). Cut the season, do less, get by. If people don't like it, they can donate until such time as they can do more.

Kinda cool as well... http://blacktube.tank.jp

Don't know if it draws from other sources, but everything I saw was from Youtube. Click on the "Youtube" box in the lower right-hand corner of the clip itself, and a new Youtube window will pop up, with any description that might be there (if any), plus Youtube comments, some of which might happen to be useful. Here's the best footage I've ever seen of Larry Young, with Tony Williams' Lifetime in 1971.

This isn't directed AT you, Mark, just so you know. My first thought is, BFD. People do what their employer pays them to do, and the employer generally defines what the duties of the job are (within reason). Now I realize that the union exists to negotiate on behalf of their members, and I generally support unions more often than not. But when times are lean, I think it's necessary for organizations like symphony orchestras to do whatever they have to, in order to continue to exist. If that means that some of the orchestra-players salaries come from community outreach (which enables orchestras to pay a portion of musicians' salaries through grants that the orchestras get to do said community-outreach), then so be it. I know quite a number of symphony musicians "somewhat well"-ish here in Kansas City (I sang in the KC Symphony Chorus for 10 years), and to the best of my knowledge, KC Symphony players have either had to, or are provided 'incentives' to do community outreach -- all the time, in fact. I don't really know the details, but for all I know, these may be job requirements. This has been the case for 5 or 10 years. For musicians elsewhere to suddenly get bent out of shape about having to do community outreach concerts and such, as a part of their jobs, seems kinda crazy to me. I want orchestra musicians to get paid "pretty well" (their education isn't cheap) -- but they also need to suck it up, and do what's necessary to keep their organizations solvent too. I worked in the non-profit world for the last 6 years, and not-for-profits are constantly bobbing and weaving to follow the money from donors and grant sources. Performing arts organizations aren't much different. Symphony musicians need to bob and weave too, or else get paid less if they won't, simple as that. A 40-week season for a symphony in a city the size of Detroit sounds a little crazy to me. 52-weeks was probably absolutely insane. The dollars simply couldn't have been there to support that.

Why can't the DSO just reduce the size and scope (sounds more like "magnitude") of their season? To me, that sounds like their only option, actually short of some 'deo ex machina' donor with infinitely deep pockets. Surely the contract(s) with the musicians obligate the symphony to pay certain minimums PER CONCERT (and per rehearsal, per hour, etc) -- but surely the musicians' union has no control over the scope of the season. If they only have $X much money, that only buys so many concerts, simple as that. Not a long-term solution, I know -- but it sounds like the DSO is wanting to bite off only what it could formerly chew. See my post #5 above.

If I remember the St. Louis Symphony only has a 24-week classical series (plus pops and other stuff, but they aren't year-round, I'm pretty sure of that). And Kansas City only has a 14 week classical series (plus a separate pops, etc), iirc. So I'm not sure Detroit really has a "52 week" season, but surely they need to look at downsizing the scope of what they do. The musicians union would have some complaint about reducing the effective hourly-rate that these salaried musicians get -- but the orchestra itself has control of the scope and scale of what they do, and it sounds like they need to downsize THAT - in order to control costs.

aka "Travellin' Man" on Black Lion. The BL is the only CD issue of this material I know; has this session ever been released on CD under the "Blues for..." title??

Got Roach's "Lift Every Voice and Sing" in today's mail, and I'm on my third spin (hadn't ever heard it before). (Got it as a two-fer with "Members...", which I already had as a single.) Lot's of good moments (anything with Billy soloing is good!) -- but all around, "It's Time" is a much stronger date. Stronger chorus on "It's Time" for one, tighter, and the vocal arrangements are a lot more interesting. Not sorry I got it, but was a little disappointed.

First and foremost, RIP Ms. Vickers. ====== HERE's a much bigger image similar to the one you posted Chewy(cropped slightly) -- but one can almost pick out all the titles. The ones that I can read are (Left to right), Chet Baker, Bud Shank, Chico Hamilton, "Jazz Loves Paris". Can't make out the rest. What's the one that says "Zen" in faux Chinese characters? And of course, the real question is, would Chewy have forgiven her for the glass on the LP cover by her knee?

Thanks, Don! I've updated the other thread (on the other board) with the link.

I wish there was a way for artists and their heirs to absolutely get their due for a legitimate period of time, while obscure and practically "abandoned" recordings might also be able to see some new light of day as well, and within some reasonable time-frame (much quicker than is traditionally the case now). Somewhere someone suggested that copyrights be REQUIRED to be renewed every 30 years (for up to, say 60 years -- which would then require only ONE renewal before something would fall into public domain). But then for anything NOT renewed at the 30-year mark, such things would fall into the public domain automatically. That would open up the possibility of reissuing one hell of a lot of "abandoned" material. Also, I think the renewal process should be easy, and very inexpensive too (for copyright holders) -- so there would be practically no reason that holders would have for not renewing (other than complete oversight). Of course that would put the onus on holders to re-up their holdings, but I think the value to society would be immense. Think of how much stuff has been created and produced before 1980 (about 30 years ago) that is otherwise technically unavailable. I'm not saying this proposal is flawless, and there may be some unintended consequences I'm not thinking of -- and I'd welcome more discussion.

Thanks Don. Had a request for you to share more of the details of your experience over on the Hoffman board (or with us here, if you'd rather).

Question came up over on the Hoffman board, and I thought I'd check here.

I've always found Charles Ives' solo piano work to be nothing short of amazing. I've got about 5 or 6 discs worth (with some overlap, but not a lot), and it never fails to engage me deeply. As far as specific pieces, I'm pretty partial to Paul Hindemith's Ludus Tonalis (1942), an hour-long work with great gobs of 20th century counterpoint. Also Dmitri Shostakovich's 24 Preludes and Fugues (1950/51), again, because of the fugal-writing in a 20th century harmonic context. Practically all my classical CD's are 1,000 miles away from me at the moment, or I could identify a few more (as well as some specific Ives pieces), but I'll try and revisit this thread when I get to DC in a month or so.

Yeah, Members is such a great album, and I'd forgotten fully half of it was tunes by Cowell. I just ordered Max Roach's "Lift Every Voice and Sing" (from half.com) -- and had to go with the cheap "Collectables" version which is paired with "Members..." on the same disc. So, depending on how the sound quality and packaging/notes are, I could maybe have an extra copy of "Members..." if the OP is still looking for one.

Yeah, I'd have to differ with him about "On the Corner" - which just gets better with each passing year, at least for me. But we agree, Panthalassa is great.

Something kinda cool I just stumbled on... more here

Didn't know where else to post this. Texting on motorcycle, on the highway!! :blink:

Several used copies on Amazon, and I believe also on half.com. Really an outstanding date, highly recommended.

Any suggestions for some specific sets that would make sense, configuration-wise? You'd need something like 3-5 dates by the same artist, or some collection of sympathetic artists. Here's the Strata-East discography, anybody have a link to one for Freedom? I'm not seeing anything logical in the Strata-East stuff, unless one counts a couple unreleased Tolliver recordings that have had "teaser" mentions on-line over the years (i.e. "Right Now" and "In The Trenches"), though no such recordings have ever materialized.

I'm mighty curious about the Japanese issue too. If ever there was a date that needed a sonic upgrade, it's the domestic Black Lion issue of this one.

Are there any other Ra albums (particularly on CD, but any source really), that fit into what I kinda call his "slightly-ambient disco" period?? I've already got... Lanquidity (1978) On Jupiter (1978) Strange Celestial Road (1979) Sleeping Beauty (1980) In short, I'm looking for more stuff like "Lanquidity" especially; Sun Ra with a GROOVE. (Years listed above from Wiki, might not be 100% accurate as a result.) I do have a few other recordings from this era, though none with the kind of 'groove' that most of these four have.

One last lead. There was a "Hiroshi Tanno" thread here that mentioned this Shepp title (1800 = 1800 yen)... And from another thread, here's Hiroshi's contact info... And many folks around here have purchased MANY titles from Hiroshi over the years, I think this is the most currently thread. Well worth dropping him an e-mail.

Here's one that's $593.11, but I don't think that includes shipping. On a more serious note, sorry this isn't coming up anywhere. Several LP's of it on eBay currently, but no CD's, and none sold in the last 30 days either. You might set up an automatic daily search on eBay, and you can also set up an "auto purchase" transation on half.com (you set the maximum you'll pay, and the lowest quality rating you'll accept). Just don't forget about it if you find it else where -- or else in 6 months you might discover you have two of them! Best of luck!