Jim Alfredson

Jeez, what's up with that?

Where was the Israeli conflict brought into the conversation?

I would think it would be an ironic twist since Muslims and Jews don't necessarily get along all that splendidly. Why should this be in the political forum?

I think it depends on how you price it. It would have to priced as a boutique item, a collectable. I'm thinking a very low run, like 100 copies.

It will smell like Randy's lycra biking shorts.

I should add that vinyl would not be the only medium. We'd still have CDs. Just trying to see if there would be a market. Thanks!

I'm just trying to gauge part of the market here. Since CDs have become so disposable and are now basically money losers (glorified business cards, really), I was thinking there might be enough of you out there that would buy the next organissimo release on vinyl. So what say you?

How is this? http://www.cduniverse.com/productinfo.asp?...amp;style=movie

Hmmmm.... me too. Strange. I'll look into it.

Sounds like every horrible wedding I've been to. My idea of hell.

I love Jaws. The records with Shirley Scott rule my roost. I should get those out right now.

I defy anyone to go into a professional recording studio and hear the playback of audio coming from whatever medium they are using (usually ProTools but sometimes analog 2" tape) and compare it to the same audio coming from a 16bit/44.1kHz CD and then tell me they can't hear the difference. There is a vast difference between 24bit and 16bit. Not as much between the sample rates, but the bit depth difference is huge. And if you're recording a project at a higher sampling rate, the difference when stacking multiple tracks and using plug-ins (or affecting the audio in any way, including simple volume changes) is much more evident between sampling rates.

I'll try to make it down. Thanks for the heads-up!

Yep. That was a dumb mistake, typical of the Lions.

The original post contained a link to a blog that had a link to download the record. We don't allow the sharing of copyrighted material here. Thanks.

Thanks for the post. I am still running this stuff through my head and trying to figure out a solution that will be a compromise, as much as that is possible.

Christiern, thank you. I agree 100% about the preference paragraph and it really bothered me as well. Does Jack DeJohnette, Christian McBride, or Kenny Barron really have trouble getting reviewed in publications like JazzTimes to begin with? Isn't this service from Sonicbids supposed to help no-name artists like myself get a review in a major magazine? I think that paragraph basically says, "Yeah, we'll take your money, but you probably won't get reviewed anyway." And so we're back to square one and a little bit lighter in the wallet.

I should add, that it is not hard to create your own EPK that looks and functions much better than the Sonicbids one.

jp, I think Sonicbids is a scam. Yeah, I saw that new "get a gig guaranteed" thing and if you spend a moment to peruse the gigs they offer, most of them are non-paying "exposure" gigs. One gig a month? I can do better than that by cold-calling people. Yes, marcello, you're right that festivals are all about making the contact, which is exactly why services like Sonicbids suck. They take that avenue away from you. There are many festivals that I've submitted press kits and CDs to in the past that had submission info or at least contact info on their websites. Now many of them just have a link to Sonicbids. How can you create a personal relationship with the festival director when you can't even get his/her contact information? How can you talk to them and convince them that your group is better than the thousands of others when they stop at your EPK for 10 seconds, listen to a couple seconds of an mp3, and then move on? But yes, it can be a boon for whomever uses the service. Think about JazzTimes: As the ad readily admits, there are thousands of people wanting to get reviewed. Take a bit of cash from those thousands, review one or two discs a month from the submissions (and I doubt they are really under contract to review ANY of the submissions, if they don't want to), and rake in some serious bread. Greg and I have joked numerous times about signing up Big O Records to Sonicbids. BIG O RECORDS is looking for artists!!! Submit your EPK for only $25 to us and we'll review your music and you might get signed to the label!!! Of course, Sonicbids won't enforce that we actually sign anybody, so we could just sit there and wait for the money to roll in for doing nothing. Scam.

That's the only one I know of. If couw has more information, then I'd appreciate a heads-up. If there is more, perhaps the wisest move would be to change the name of the board. Or maybe not; the current music business is in flux. The old paradigms are falling and nobody knows what is going to emerge. So why worry about what the current model thinks? Take Daptone Records, for instance. They bypassed all the normal channels and did things their way and they are very successful. The owner, Gabriel Roth, has said some pretty strong things about digital, about audiophiles, about jazz, etc. Didn't seem to hurt him or his label at all.

wulfman, we get a decent percenage from iTunes, so that's great. Thanks for downloading and grooving to the music! We appreciate it.

Beautiful photos, Mark. I never get tired of hearing Fathead. Wish I could've been at the show.

Maybe it's just me, but this seems kind of sketchy: http://www.sonicbids.com/Opportunity/Oppor...tunity_id=11632 Now, I'm not naive enough to to be ignorant of how things work in the magazine world. Though no magazine would admit it, if you take out an ad with a particular magazine, your likelyhood of getting a review increases dramatically. But this seems to be a pretty blatant take on that normally underhanded tactic. For the record, we had a Sonicbids account for about a year. We spent a lot of money submitting to festivals, clubs, trying to get reviews, etc. Never got a single thing. Nothing. The business model is ripe for scam. One festival we submitted for admitted in a rejection letter that "thousands" of acts submitted. Thousands of acts, each paying $10 to submit to the festival, equals at least $10,000 in income for the festival. How much were they paying the actual act that got the gig? $1500. Nice work if you can get it. Back to the JazzTimes thing, it just doesn't seem ethical to me. What do you think?

UP... we don't have any new tunes this year (might be able to squeeze one or two in before Christmas... maybe), but the rest are still in the FIRST POST. Happy Holidays!

I tried the ad thing for a bit. Frankly, I am kind of proud that this is one place on the web that doesn't have advertising. It gets pretty old, imo. We're bombarded by it constantly.