Rooster_Ties

I've got your "interesting subwoofers" right here...

I have two or three discs with Vloeimans (a leader date of his, and he's a sideman on a couple I think) -- and he's pretty baad-ass. He kinda reminds me of Kenny Wheeler a bit, or maybe even Tomasz Stanko (that is, if you think Wheeler and Stanko are baad-ass too).

Well?????

OK, so about three going on four years ago I started my own jazz concert series at my church (a centrally located Unitarian Universalist church here in Kansas City, about one block away from one of the best known jazz clubs in town). I've done about 6 concerts per year, about one every other month (timed to coincide with the local jazz rag, which publishes in Feb, Apr, Jun, Aug, Oct, and Dec.) The church as one of THE best pianos in town (9-foot Steinway, Model D), and the space isn't too "churchy", with a great brick-wall backdrop behind the 'stage', and a huge, crazy fabric art thing which works well for performing arts events (see small pic below). Most have been on Saturday nights (8pm), but I've done a couple on Sunday afternoons (3pm or 4pm start). I called the series "Jazz & Beyond" (a great name, I think, and one with a lot of wiggle room to program some more progressive-leaning music, which I've done about half the time). And we've had some moderate to good (and occasionally great) success -- but very inconsistent, though. Attendance has ranged from an "average" of between 40 and 70 per concert (usually around 50), with a few shows drawing closer to 100 or even 130 on a couple occasions, and one particularly slow date (the most recent one), where ONLY 16 paid people came (gack!!). We split the door with the band -- so the band gets 2/3rds, and the church 1/3rd -- which (the thinking goes) gives the band all the incentive in the world to turn people out. If nobody comes, nobody gets paid (there's no guarantee, so the church never loses anything). Except this last time, I just gave 100% of the door to the band, cuz I felt bad that the door only took in $160. We usually charge $10 per person, with students only $5. Once there was an unusually large group (band), and I charged $15 per ticket, but I did "two for $25" to try and drive in more people -- and we had about 110 people for that show -- a really good showing (and about $1,500 in total revenue for the night, including what we got from concessions -- beer, wine, and soda for a "suggested donation" that's still more reasonable that was most bars charge). In that case, the band managed to get a piece on the local NPR station, which ran some insane number of times -- far more than any of us could really figure out why (normally their "local arts" insert only runs three times on Friday mornings, but for some reason I heard that it ran a bunch of other times that week). When I started this thing, I *thought* I could count on 50 people from the church coming to every concert, but that has NOT been the case -- I usually only draw about 20 or so (plus or minus), sometimes as many as 30 (at most), and just as often as few as 10. Some of the feedback I've gotten from some church people is that the music is too "out" for them (my term, not theirs) -- that they really only like really "inside" jazz (danceable swing and/or stuff with a vocalist). Truth is in three years, I've only had one truly "out" concert, and everything else has been (at most) what I'd call "aggressive hard bop", with maybe one or two that kinda leaned towards "free bop". But I've had vocalists (about once a year), and soul jazz (an organ trio), and pretty much the gambit -- with programming that basically is "somewhat less conservative" than the clubs. OK, that's all background -- here's why I'm staring this thread. I've GOT to get better at doing PROMO for this series. I've got zero budget for advertising, but if I knew something would work -- I might put some of my own money into it when I could. I try and run calendar listings in the main local paper (KC Star), but I've had only so much luck in getting them to run the listings in anything other than the "faith" calendar section of the paper (since I guess they see it as a church event). I'm working on trying to get listed right in the concert listings, and that's getting a little better -- but they're still very inconsistent about listing stuff all the places I think it ought to go. (In their defense, they've had MASSIVE layoffs over the last 1-2 years, and I think they're literally running on about half the staffing they had 3 years ago -- so I can't blame them too much if they're spread really thin.) I've also had hit-n-miss luck with getting our listings in the main free paper (The Pitch), which a LOT of people use as a "what's going on around town" guide, maybe even more than the KC Star. I've also tried to put up posters around town (Midtown mostly), usually in the windows of a few restaurants, and some bookstores and what few record/CD stores are still around (very few). And I've also done handbills that I've personally handed out after other jazz concerts and events (as the crowd leaves the venue), within the two-week period before the shows. And I always get about a 125 word article (free) in the Notes & Events section of the local jazz rag, JAM (Jazz Ambassador Magazine). We list the events in the church calendar, and it's also the "spotlight" event on the front page of the church website for a full week or two before the concert. I've tried to get an e-mail blast going, but half the time I can't read the e-mail address on the sign-in sheet I've put out at the concerts, and I really need to be better about getting that info, and being consistent about getting an e-mail list going. (And I'm more than a little challenged when it comes to having the tools to manage that data well -- I've just been typing them into word, and cut-n-pasting them into my e-mail "to" field.) WHAT ALL DO YOU DO (that works) TO DO GOOD PROMO FOR THE EVENTS YOU PROMOTE?? WHAT WORKS?? WHAT HAVE YOU LEARNED?? WHAT DOESN'T WORK?? Do I HAVE to get on Facebook, or (god forbid) Twitter to make this work?? I've never had a Facebook account, but I can't imagine that info I sent out that way would be any better than sending out e-mails, or what am I not getting about Facebook?? The one thing I've learned is that doing promo is harder than I ever thought, and I never seem to do it as well as I intend to, nor as much as I really need to. Any advice people have would be greatly appreciated. And I figure, at one time or another, others of us here have to do promo for events, dates, concerts, etc... Let's help each other learn how to do this better. I don't have all the answers, but I'm sure (collectively) we're a lot smarter together, than we are individually -- or at least smarter about this stuff than I am, that's for sure.

Not to threadcrap, but man - that's one fuggly t-shirt. Yack.

I wonder what this could mean..... Perhaps it's a dilemma about Big Leg Emma. Un-huh.

Have the album, and for me the glass was definitely half full (not half empty). I thought about 75% of it worked well, some of it very well (the Bitches Brew and early 70's tracks, especially).

I don't think so. I can't find any BN date he actually plays on (he not listed anywhere in the index of the big BN discography I've got). Now Horace Parlin DID record the Boykins tune "Home is Africa" -- but Boykins wasn't on the date.

OK, now this is buggin' the hell out of me. Looked last night, and again tonight for a bit -- and every time I think I've found something, somebody else has already mentioned it before in this thread. There have to be a couple more than this, though, right??

Yes and Yes. I have a 1991 Strata-East/Bellaphon CD of it. It's magnificent, as is all of the Tolliver from that period. Thanks, John. I have it on hold at Dusty G, but would be less likely to plunk down $30 for it if someone came out and said it sucked. I also have the Stata-East disc and concur with felser's opinion. Late to the party, but had to say that the Tolliver date (a.k.a. "Compassion") really is spectacular, and a rare "trumpet, guitar, bass, drums" quartet, with none other than Nathen Page on guitar (an obscure, but I think WAY underappreciated player -- and yes, his first name really is spelled "Nathen" with an 'e'). If I didn't already have the '91 Strata-East/Bellaphon CD, I'd buy this (even at $30) without a second thought.

!!!!!!!

Spock already knew that Kirk was acting 1st officer. Pike had designated/promoted him when they escorted him to the transport earlier. Yes, but Spock neither gave command to Kirk, nor did he even acknowledge that he was suddenly OK with Kirk suddenly having command. Terribly out of character for Spock (no matter which universe we're talking about).

Saw the movie just today, and hated it. OK, I didn't really "hate" it... ...but I DID really find MOST of it pretty annoying (at best). Forget all the leaps of logic, and physics that wouldn't work in a million years (SPOILER: parachuting to a planet from space???!!!!!!!!!!!! – gimme a fuckin’ break!!!) -- I thought there were some pretty gaping and basic continuity problems (SPOILER: when the HELL did Scotty go from essentially being a scallywag on some mining operation (or remote outpost, I forget which), to suddenly being chief of engineering???!!!! -- in the space of about 30 seconds of screen time??). And (SPOILER) Spock just gives up command?? -- without even the remotest concern for giving command to any specific person????!!!!!!!!! Purely as an "action" movie, it was fine -- but speaking as a longtime Trek fan (especially of the better seasons of ST:NG and DS9), I found it all very deeply UNsatifying. I doubt I’ll go see any sequels to THIS Star Trek franchise. Bah Humbug!!! (Only paid $4 for my ticket, as it was the first (Noon) showing of the movie of the day -- and it was barely even worth $4, in my book -- THAT'S what I thought of it.)

Probably WAY too dense to put all six together at the same time, but maybe (based on the times), these sets could make for an interesting layering -- tracks 1, 3, & 4 together (the short takes). And then as a separate exercise, tracks 2, 5, & 6 (the long takes). From the Complete Jack Johnson Sessions (disc #1) 1. Willie Nelson (take 2) 6:43 3. Willie Nelson (insert 1) 6:33 4. Willie Nelson (insert 2) 5:23 2. Willie Nelson (take 3) 10:22 5. Willie Nelson (remake take 1) 10:46 6. Willie Nelson (remake take 2) 10:18 Anybody got this set?? - AND the skilz to put these two together?? Many thanks if you could post the results here.

Sometimes Daily Motion is also a halfway decent place to look for jazz stuff. Keeping semi-close to the topic of this thread... Horace Silver 5et - 1974

That may indeed happen, but I'll believe it only when I see it. That said, I'll bet we do see a new round of Conns before the end of the calendar year.

Yes, but don't try this with a recording of an actual Charles Ives piece (especially "Country Band March" or the movement it inspired from "Three Places in New England"). Though, on second through, with Ives -- would it possibly all come out in unison??

My thought as well. Facts only known by folks spending time with GRP recordings. I've never heard more than probably half a dozen GRP dates at most, and that was back during my college years circa 1990) when I didn't know that much about jazz -- and even then, I knew enough to mostly avoid GRP at all costs. That said, one doesn't thumb through thousands of CD's and rekkids over the last 20 years -- and not pick up on who's on what labels. Let the record show that I'm no recovering GRP fan, and take umbrage at any suggestions to the contrary. ( )

My thought as well.

Who's on it, and when's it from?? All hail the Google... Howard Roberts - Antelope Freeway -1971 Impulse! AS-9207 (LP) 1. Antelope Freeway - Part 1 2. That's America Fer Ya 3. Dark Ominous Clouds 4. De Blooz 5. Sixteen Track Firemen 6. Ballad of Fazzio Needlepoint 7. Five Gallons of Astral Flash Could Keep You Awake For Thirteen Weeks 8. Santa Clara River Bottom 9. Roadwork Howard Roberts - electric & acoustic guitars Bobby Bruce - violin Mike Deasy - electric guitar Pete Robinson, Larry Knechtel, Mike Wofford - keyboards Brian Garofalo, Max Bennett - Fender bass Bob Morin, John Guerin - drums

The closest I could find for you, Paul...

This might be an LP copy for sale -- or at least it claims to be. CLICK

Depending on where you are in the world, you can (legally) stream the entire album HERE. (Free Napster) And you can buy a virtual copy of it from them (I presume legally) for $10.