JSngry

Nah, that's not what it was about. It was about taking ownership of a tradition and freezing it in place so that the ownership could then own/control the product. It wasn't just jazz, either. Nashville's done it, Broadway's done it, Rock's done it, it's the American Way.

Yeah, that's another one!

You can still find a sub-set of young music fans who include jazz in their regimen. But the fallout of the whole Neo-Con movement has been that today, unless people have a very, very specific personal agenda in mind, being a dedicated jazz fan, is either relevant or appealing. As far as appreciating the value of music overall, that's a good thing. As it pertains to really understanding the specifics of any musical language past a superficial level....my jury is still out, perhaps a mistrial will be called. Or hung jury.

I would like to know what the problem/"problem" was with a Bill Barron set. Licensing issues? No photos on hand? An overriding mandate to get a Rosemary Clooney set out? Bill Barron could have been their 21st Century Tina Brooks, except that there couldn't be the follow-up of single album Blue Note reissues. Oh well, some Andulursian guy named Jordgie or something will work with what's already been done and put it all together for, like, $5.95, $4.95 if you pay with cash or Bitcoin.

Solo-accompaniment model...I was in an "EAI" group for a while, a trio, where I let another band member handle the electronic manipulations of my own playing, playing acoustic tenor miked into his toy store. The result was that whenever I began thinking like a soloist, I'd get get something from myself thrown back at me, either a loop, or a distorted sample, or something backwards, whatever. So much for "tenor rhythm with rhythm accompaniment!" Funny thing was, my more traditional "jazz friends" thought that was the creepiest thing they'd ever heard of. Why would you let somebody else control your voice? I was like, hey, I'm still controlling my voice. What I'm not controlling is what I'm responding to. It forced me to never ask a question that I already had the answer to, or to claim absolute autonomous leadership of a direction and expect absolute loyalty in response. Those are things that you want out of any improvisation environment, really, ideally, but the degree that it happened with that was really ...interesting. Interesting and challenging. Anything that gets you to focus less on "soloing" and more on "playing", you do it. Nothing against the model of great soloing/soloists, but that's not necessarily the best route for all people at all times. And even a truly great soloist, I think, admits that they're listening to something besides just themselves when they do what they do.

otoh, it served its audiences well enough then that people now want it "better", which I think reflects more on people than it does on the records. The records served their purposes just fine, usually. Not always, but usually. Talk to the 78 peoples here if you don't believe me. Also, waiting for/hoping for/expecting Mosaic to be the only people in the world to do this type of thing is putting all the eggs in one basket, maybe. Or not. But I firmly believe that Plan B is always gonna be Plan A eventually, etc.

I've done this type of thing more than once, and all I can say with any certainty is that a "vision" will only take you so far in one direction, just as "musicianship" will only get you so far in another. The best experience I had with it was a collective of really stable core personnel that played every Monday night for almost two years. We had charts of widely varying specificity and notation, but we were all improvisors at root (with a few being real "classical" players of the "new music" bent), so...common vision evolved, as did mutual trust that only deepened over time. I think that's the main thing in any music, really trust. In trust, there is confidence, and in confidence, there is freedom.

You're a young guy, right? Hunting and gathering used to be the only way, trust me. Time-consuming, always, but only frustrating when you didn't have the bread for something on Thursday afternoon only to come back and find it gone on Friday night. These records were out there in the wild before Mosaic, and, albeit less readily, they'll be there after Mosaic. Nobody said it would be easy to find them, that's kinda hard-wired into the definition of "hard to find". Mosaic made it less hard for a good long while, but now,,sue those residula skill if you still have them, and if not, here's a chance to learn And if the market still exists (and that gets to be a bigger "if" damn near every day), somebody will serve it, eventually. Somebody always does, eventually. As for those Euro labels stealing...obviously there's a market for that.

https://www.nytimes.com/2017/06/28/books/michael-bond-dead-paddington-bear.html?rref=collection%2Fsectioncollection%2Fobituaries&action=click&contentCollection=obituaries&region=rank&module=package&version=highlights&contentPlacement=1&pgtype=sectionfront Mr. Bond said Paddington Bear had partly been inspired by his memories of child evacuees passing through Reading from London. “They all had a label round their neck with their name and address on and a little case or package containing all their treasured possessions,” he told The Guardian in 2014. “So Paddington, in a sense, was a refugee, and I do think that there’s no sadder sight than refugees.” Mr. Bond sold his first short story in 1945, to the magazine London Opinion, and said later that he had written it outside a tent in Cairo. Mr. Bond also wrote books about Olga da Polga, a guinea pig and a mouse called Thursday, and for adult readers about Monsieur Pamplemousse, a culinary detective with a dog named Pommes Frites. But he was always best known for Paddington, whose fame grew wildly in the 1970s after the first stuffed animal version was produced and the first television series became a hit, on the BBC in Britain and later on various networks including PBS, Nickelodeon and HBO in the United States. The merchandising made Mr. Bond wealthy, but the pressure took its toll. “A black cloud hung over me for about two years,” he told the London newspaper The Daily Mail in 1998. “I became overtired and started taking sleeping pills at night and a lot of whiskey to wake me up. I thought about suicide.” Mr. Bond credited the spirit of Paddington with helping him through difficult times. “There is something so upright about him,” he added. “I wouldn’t want to let him down.”

Dude, if the website is proving a bit much to handle, a forum would be a nightmare of a circus for them Really, I don't see how they've in any way "failed". 35 or so years working with the licensing landscapes they had at any given moment, any number of truly noble projects, some of arguably legendary status/quality, there is no entitlement for anybody to expect this to rocket out past all gravitational pulls into infinity, no. The only thing I've really wanted from them that I give up on is a Bill Barron set. And Cusuna "promised" me in a snail-mail letter from 1990 that there would be an Albert Ayler set, but that was long before Bernard Stollman reentered the universe, so I get that. Mosaic is just a business. Unless some stuff is going on that is not in general conversation circles, I don't hear about them running around looking for White Knights to save the day. So...If they carry on, great. If they don't, their shit has been put out there, go find it. And if they didn't get to it, oh well, we can still hunt and gather, each in our own way, same as we always have.

Sounds like a meme generator could be of some use here, maybe?

Let's see how many lifetimes pass before this happens again. None of us will live to see it, I'll bet. Not all of this. Listening in memory of Gerri Allen, because you talk about who set the example of surviving, not just with a life in music, but an integrity of character that never gets discombobulated by the traps that life gleefully offers up to rob us of our beautiful "otherness" (no matter what or how many forms it takes) or render it impotent/irrelevant, well, here you go. RIP Gerri Allen. RIP Duke Ellington. RIP all the beautiful spirits, now, then, to come, forever.

dammit

If by "major" you mean relative to the season-long impotence of the bullpen, then, maybe? Or maybe not.

Same.

Ray Nance!

HiLo's are just nuts, that's all. They ALL crazy. Between Clark Burrowes and Conrad Gozzo)?)...damn. Loudness!

Between YouTube & an unsupervised Pandora, if you get into a rut, it's nobody's fault but your own.

A quiet yet very determined academic who also served as a captain in the Navy Reserve, he specialized in the study of institutional racism and instructed his children, Taborn told me, not to be “dominated by anyone’s attempts to limit your identity based on their own crises or failures of imagination.” ............................................................................................................................................... His final form of preparation was listening to his iPod in the rental car he drove to Cambridge. It contains about 45,000 tracks, and Taborn prefers to listen to it on shuffle. “Moving from Xenakis to some metal thing creates a space where you don’t know what you’re listening to anymore,” he told me in his dressing room. “You’re making inferences and connections, and that’s really what composition is. So I don’t worry what I’m listening to. I just like the experience, the change in moods, the feeling of going from a 20-minute composed track to a 30-second blast of metal. Even the discontinuity creates its own logic.”