JSngry

Was there a dance floor at the Crescendo?

Just starting in on this one, really enjoying the presence of the recording ...on Disc One, "Indian Summer" is certainly Wild Bill Davis' arrangement, as most of it later turns up played by Ellington as "Remmus Naidni" here (and also contains perhaps my singlemost favorite Paul Gonsalves sol).

What kind of entering are we talking about here?

https://www.nytimes.com/2017/05/09/arts/music/mario-maglieri-dead-ran-whisky-a-go-go.html?rref=collection%2Fsectioncollection%2Fobituaries Mario Mikeal Maglieri was born on Feb. 7, 1924, in Sepino, Italy, to Alfonso and Christina Maglieri. The family moved to Chicago, where his father opened a nightclub, when Mario was 4 years old. As a teenager, he drove a beer truck. He later served in the Army and took part in the D-Day invasion of Normandy. Back in Chicago, he got jobs as a court bailiff and nightclub manager before opening his own clubs.

My hunch is that he had a hunger for it at one time, that it didn't go well, and then he figured, hey, by the time this is doable, I'll be too old, so oh well, I tried. Which is I'd really like to know what if any line of succession there is for this company, or if their even is one. As well as where that 50% ownership by Blue Note stands today. IIf Mosiac folds, how does it fold on paper? And if it floats, who's gonna make sure there's water in the lake?

Again, I don't see the phrase "it's their feeling that..." as in anyway speculative. It is their feeling, not "probably" their feeling, or "I suspect their feeling is" or I've heard that their feeling is" or anything like that. It is their feeling. That's not ambiguous. Again, as far as how current that "is" is, I can't say, because he doesn't. Perhaps he tried, failed and gave up. Or maybe he had another crack at it six months ago. Hell if I know. That's ambiguous, at best.

Yes, remember the Mosaic Dreams of all the possibilities of RCA & Columbia now having the same rights holders? Those were good dreams...

I don't know that the phrase "it's their feeling that..." is indicative of a supposition,.or a potential conversation. I've observed Cuscuna for years and seen him be a passionate, aggressive advocate, but never an outright fake news propagandist. So I feel solid about an actual conversation (or more) actually having taken place. How recent that conversation was, or how aggressively the point was pursued, I would not dare to speculate. As for the present (and thank you, Lon, for supplying accurate information), does anybody know if the Universal/EMI/Capitol partnership still exists? Perhaps more relevantly, does anybody know (that that any of us need to know) the details, like, is their a buyout clause that either party can execute, or any other way to dissolve the partnership if it's not yet been dissolved?

My Jamal set arrived today. Looking forward to really taking my time with it. Certainly not music to be digested in large quatities in a concentrated time span, Now... If we're going to discuss what Michael Cuscuna "said" about Mosaic and downloads, let's discuss what he actually did say: http://www.stereophile.com/content/survivalists-mosaic-and-newvelle-records#FCfZl8yueoAEbm51.97 Cuscuna says, with more than a hint of sarcasm, that it took until 1989 for the major labels to grant Mosaic the right to press CDs, because "they were new and were saving the business." He's now facing the same predicament with MP3s and high-resolution downloads. "The majors will never give us rights to downloads. It's their feeling that they can take a Mosaic set and dump the CDs into iTunes and put up the downloads for themselves. As long as they don't use the Mosaic name or box it like the Mosaic, they can do whatever they want—it's their material." While digital technology is a godsend for rescuing old or compromised source material, the future of CDs is another matter. Does Cuscuna plan to keep releasing massive CD sets like the eight-CD Classic 1936–1947 Count Basie and Lester Young Studio Sessions? "I think CDs will continue, and will be the last physical way to transport music, to disseminate music. I don't think that our generation is going to get beyond the CD. And when the CD goes, I don't think I'll be around—it will last as long as I do. Ok, parse that anyway you want. I look at it like "never" is only never until...but until until, never is never. And as far as never goes...since Mosaic only owns the rights to the Parker/Benedetti material, what happens when Cuscuna and/or Wenzel get sick, fragile (physically and/or mentally), or any other sircumstance that renders them basically incapable of running this business? There's undoubtedly a legal agreement in place, but if never becomes until if and when the next generation on both sides of the bargaining are in place, who's going to be there for Mosaic? Doesn't sound like it's going to be Michael Cuscuna? And objectively, does Scott Wenzel seem like the type of guy whose driving force is safely guiding something like a set of Rosemary Clooney transcriptions into the post-physical product era? Finally - I've lost track of where it all stands now, but when EMI was sold, how did that affect the partial ownership of Mosaic by Capitol? Is there still a "major label" legally attached to the Mosaic business structure in any way? If I'm following the trail correctly ( a big if...), Blue Note was folded into EMI Classics, which is now Warner Classics? Does that mean that Warner Classics now holds a 50% ownership stake in Mosaic, or did somebody pay somebody else to be rid of that, recently or otherwise? As it relates to downloads, it seems, that there is no real need to give those rights to Mosaic unless Mosaic gets rebranded as Warner Classics Classic Jazz Download Central, in which case, why would they get cooperation from BMG/Sony? In a perfect world, it would all last forever. But if it all lasted forever, would we have embraced Mosaic so fully in the first place? OTOH, Mosiac coud become the new Savoy, focus on some sorely needed comprehensive and respectful Gospel sets and do that thing for a while. But Malaco already got that ground covered about as well as it's going to get covered. Until...

Come to think of it, I might have been...which product was on the general market longer? I found that K-Mart tapes could and would vary wildly. One lot would be more than adequate, another one borderline unlistenable. But at that price, hey, you borrow 20 LPs from somebody at one time to tape, you can't hold on to them until you find good tape. At lease I couldn't. Hell, I kept files on them, spiral note card binders with hand written discographical info copied from the LP jackets, detailed like a mofo, front & back of card if needed, relevant liner notes when applicable. Truthfully, I never knew all that many people who wanted to hear that much music that badly. But I've known a few, and believe me, both them and I made dubs of each other's dubs. Whatever else digital is or isn't, it's definitely made it easier to scratch that particular itch.

Or for dubbing LPs that your friends had that you didn't (and probably couldn't). I can't begin to mention how much of my exposure to Black Saint/Soul Note, Horo, Moers Music, Fluid, Hat, etc. was from dubbing LPs from somebody who had been to Europe and brought them back. Imports, when they were available, were cost-prohibitive, but a box of K-Mart cassettes was not. And then TDK, etc. and finally the real things themselves. But I needed that entry-level access, the cheapass cassette dub. Same thing with OOP BNs and lots of other things. I wasn't looking to have an object in the best sound possible, I was just hungry to hear the shit by any way possible.

I have definitely preordered, thanks for this tip as well!

I have pre-ordered, thanks for the alert!

I always figured that bob Berg got the ER gig because he was young, on the scene, available for travel as a sideman, and had that Horace Silver pedigree for credibility. Hard to remember how few players there were during that time period who fit those criteria.

That Cedar w/Tenor thing was already around before Eastern Rebellion, or even Magic Triangle... Really, consider this as well:

High replayability index!

I like the gazette as well. It's not like I go looking for these articles. Not that they all are something I click on, but hell, it's Sunday, and I'm usually done with the whole thing in 15 minutes or less. Never a bother, and often enough enjoyable enough.

A slightly better case scenario is that they sell out their stock on a Last Call basis, no more reprint/restocks of anything going forth and go forward with whatever few occasional projects they're able to muster with whatever advance funding they can get together. Maybe crowd source like Artist Share or something. That might require Crazy Fool Level Of Dedication, and maybe everybody's getting too old for that (especially the crowd sourcing part, that' SO un-Old School, , but otoh, part of Crazy Fool Level Of Dedication is never being too old for it, even when you really should be. Either way, they really did raise the bar and kept it high for far longer than anybody had a right to expect. Hopefully the brand/concept can move forward with a nest-gen business model, but if not, hey. well done!

Gallo's surging, Rangers, not so much.

https://www.nytimes.com/2017/05/03/obituaries/ann-sneed-who-brought-jazz-to-schools-and-concert-halls-dies-at-87.html?rref=collection%2Fsectioncollection%2Fobituaries&_r=0 Ms. Sneed founded the nonprofit International Art of Jazz out of frustration. She was living in Stony Brook, on Long Island, and was a regular at nightclubs in Manhattan. One night in 1964 at the Embers on East 54th Street, she recalled, she could barely hear the jazz pianist Eddie Heywood playing over the din of customers and waiters. “And I said, ‘Gosh, I wish that we could hear Eddie in a concert,’ and Eddie came over and said, ‘I’m giving a concert and I’d like you to come,’” she told The New York Times in 1978. The concert, a benefit for Mr. Heywood’s children’s school in White Plains, “absolutely destroyed me because I had never heard jazz in a concert situation before,” she said. “That’s what did it.” Soon after, she told a friend, “We’ve got to do something like this.” She began the International Art of Jazz modestly, with winter concerts on Sunday afternoons around Long Island. With the support of the Suffolk County Human Rights Commission, the organization was bringing music into poor areas by the late 1960s. Eventually, the organization expanded its concerts and educational efforts around the state. Among the musicians who played at the concerts were the vibraphonist Lionel Hampton, the trumpeter Clark Terry, the pianists Billy Taylor and Marian McPartland, the saxophonist James Moody and the singer Ruth Brown. Ms. Brown had been an R&B star in the 1950s, but her career had faded and she was living with her sons in Deer Park on Long Island, supporting herself as a domestic worker and a bus driver. In 1968, Ms. Sneed heard about Ms. Brown’s circumstances and urged her to sing again. “The I.A.J. allowed me to sing during those years,” Ms. Brown told The Times in 1989. “Kept me alive musically and helped pay the bills, making it possible for me to get back home in time for the kids after school.” She had a career resurgence and won a Tony Award in 1989 for best performance by an actress in a musical for “Black and Blue.” The trumpet player Dave Burns, a veteran of the Dizzy Gillespie Orchestra, said in 1978 that Ms. Sneed’s group “was the most important thing around for keeping jazz alive, not just because it gives us musicians a chance to work but because by bringing top-shelf music to the people we’re making jazz a part of people’s lives.”

Spend that money, and consider it spent until you know for sure that it;s not. And then, hey, found moeny!

Jeeeeeeeeeeesus....talk about showing your blade up front just so there's no misunderstanding about mistaking your forthcoming kindness for any kind of residual weakness... In a world full of out of left field entrances, this is certainly one of the most explicitly, unambiguously, defiantly vulgar things I've ever heard. But no laws are broken, the guy knows exactly where the line is. Exactly. My hero.

You'll notice that there are no Bobby Vinton records with Lockjaw on them.

You think Lockjaw Davis gave a fuck about polite? Lockjaw Davis did not give a FLYING fuck about polite!

Exactly. Bobby Vinton should not be relevant when offering this tune its consideration. And lest we forget (I almost did...) Anyway, the eternally bullshitless Johnny Hodges: