Christiern

Next thing you know, these RIAA idiots will worry about us committing the melody to memory! Or is that why the music industry works so hard to eliminate any semblance of melody?

Couldn't agree more, Weizen.

I was just told this--no details yet. I knew him back in my Riverside days and he left a very favorable impression as a perso as well as a musician.

GA Russell: "And speaking of death wish, I suppose you saw that the amateurs of American Idol clobbered in the Nielsen ratings the "stars" on the Grammy Awards show." Amateurs made up the majority at the Grammy show; they pose as professionals, but they are mostly the product of bribes, payoffs, and the tin-eared accountants and attorneys who have taken over the music industry. We have reached a point where someone with little more than a decent voice and good looks is readily hailed as brilliant. What the Grammy show needs is quality control--that would quickly eliminate most of the mediocre screamers, regrettable rappers, and--while I'm at it--painfully bad TV production. Hey, it might even encourage real talent to step forward.

RIAA is the music's worst enemy--a greedy, tone deaf organization that cannot see beyond the bottom line.

Du ønskes hjertelig til lykke med fødselsdagen og håb om mange flere. Med godt helbred! Det er sgu ikke morsomt det her, men du skal fejre dagen med håb om en bedre fremtid for verden. Gunnar.

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yup! His editor, I believe.

I used to get along with him quite well, but he has turned into a colossal, opportunistic ass of no significance to the jazz community. As for the Wikipedia piece, it is largely accurate, although it is rather sad to think that Stanley may be best known for Don't the Moon Look Lonesome?, a novel no one seems to have taken seriously.

From my window this morning...

No sarcasm intended, just observation and opinion. Sorry that you misconstrued. Nice story you had to tell, but no surprise there, because Billy is, indeed, a very likable, thoughtful guy and I can only hope that I will have his energy when/if I reach his age (in ten years).

jlhoots: "Please post a photo of yourself so we can compare." Please note: homegrown hair.

We had our attorney check the original contracts and were relieved to learn that clicks and pops were not taken into consideration back then. There are, in fact, no proprietary clicks and pops! Amazing. Well, we kept that information quiet, as it were, but we probably should have publicized it. Had he known that fact, Phil Schaap might not have felt compelled to restore the surface noise others had removed from the Goodman Carnegie Hall acetates.

He can play but--much like Dick Hyman--his is a generic style that usually ends up boring me. Still, I'd rather listen to him than Hyman. We were at the same dinner party ten days ago and he looked like the work of a taxidermist, with an orange/gold wig and exceedingly unbecoming, oversized glasses. Funny, Primack's puff piece made no mention of Billy's time at WNEW, nor his CBS Sunday Morning work. I always disliked the latter, because he sounded so damn condescending. He was good on WNEW, however, and that's where I first met him, some 42 years ago. I will forever be thankful for the Ornette Coleman Town Hall concert tickets he gave me (because he didn't like Ornette's music) and he deserves our thanks for the Jazzmobile concept. Other than that, let me echo Chuck's words: "no comment."

I wish you had told me that you were re-ticking. I have a large collection of the most wonderful clicks and pops ever, each one lovingly extracted from source material used by Larry Hiller and me for Columbia reissues. Some of this extraneous noise was removed from Grammy-winning reissues--it would have been perfect for your project. BTW, have you spent your entire adult life putting this set together? There can't have been much time left over for anything else! Look for my e-mail.

Industry awards are, in the main, a joke. In the case of the entertainment industry, what originally probably is created to honor achievement quickly soon becomes little more than a source of income, and it is all centered around the annual TV show. I think the Oscars can still lure people into theaters, but I don't see Grammys selling records or attracting people to concerts or clubs. As I have said before, on an old thread that dealt with this topic, what these trophies do for you depends largely on how you work them. When a friend of mine was awarded a Tony for a Broadway musical, he immediately hired a PR person to exploit it. The Tony functioned as an excuse for media exposure and that, in turn, brought more work. One job alone paid for the PR person. The rest of the show's Tony winners did nothing but sit around and wait for their award to attract people--that usually doesn't work. These things are quickly forgotten, so one has to milk them while they're hot. I have a couple of Grammys collecting dust in a corner. They never did anything for my career, but they might have if I hadn't simply brought them home and made them a part of the knick-knack inventory. The pop music world, being largely based on hype (especially in recent years), undoubtedly reaps Grammy benefits, even if it is all a joke. I think the awards are more apt to have an influence on the media and bookers than on the consumers. One thing is certain, the awards should not be seen as a measure of talent.

I think the same could, arguably, be said of Public Enemy. It was good to see Ronnie Gilbert looking well. One wonders what the people in the audience--those with an ear for music--thought of the crap that took up 99% of the show? As I said before, the recent news that payola is alive and rampant explains why so much mediocrity has been allowed to float to the top. I don't care what you say about Herbie's playing last night, his musical integrity was certainly nowhere in evidence.

7/4: "I like Gwen better when she sounds like a chipmonk." Who is Gwen?

The local NYC CBS news anchor dummy, Roz Abrams, called this "one of the most spectacular Grammy shows ever," adding that "it rocked." What was she smoking. I think the performances were mostly putrid and the production truly sucked. As usual, no jazz. Well, with very few exceptions, no music. Looks like they have escalated the "Trustee" and "Lifetime Achievement" award giving.

Now Herbie Hancock is accompanying a total destruction of Leon Russell's "A Song for You." This poor woman is simply clueless and Herbie is aiding and abetting. Horrible, and the crowd loves it! Well, at least the hired audience does.

Rarely does one see so much mediocrity assembled in one show. From what I have seen, so far, this has got to be the most embarrassing Grammy show. Now we know what all that payola has bought. BTW, who was that woman screaming with Bono? She was outrageously awful. And the audience screams with delight--what are these people smoking?

I remember well the late 1950s payola scandal. I was the only dj on my station who didn't get his name in the papers negatively. I hope these mega, hog-it-all radio networks really get punched out. Imagine what would happen if music was played on its merits? The unemployment lines would be crowded with the non-talent we hear every day--including most of the people who will receive a small Victrola tonight.

Cannonball-addict: "Besides being a godawful clarinetist..." Ok, he's not even close tp being a great clarinetist, but he does well in the N.O. musical environment of his choice, IMO.

Frank Kofsky was a twisted, hateful guy. I speak from personal experience.

akanalog nails it in #4 BTW, in 1960, when I left WHAT (Philly) to work at Riverside (NYC), Joel replaced me at the station.