JSngry

"may be his last CD" and "final album" are not the same thing? I am confused? Help?

Music as a "real time process", yes, of course, but taken literally it means that all music would be sight-reading and/or improvisation. Taken to its most logical extreme, it would dictate that practicing as we know it would not be a pursuit of a more fully realized musicality, it would be honing a mechanical perfection. That, I'm sure you'll agree, is up to the individual as to what it becomes. As cool as it is that back in the day, all those Sinatra things were cut live in the studio with the orchestra, or that all those Blue Notes were cut live and that the band pretty much mixed itself by knowing how to play live, that was one thing, perfectly executed. There are other things to do, though. Other things and other reasons. Not all of them equally "pure" in motivation (or outcome), but...what's new there? I get that recording presents the opportunity for an illusion of a perfection that does not exist, a false "reality", but the less one accepts that as a potential reality, the less one is tempted to engage the fear. People who take records at face value (from any era, really, what the ear hears and what the eyes might have seem before during and after the recording...hey...) get what they deserve, which is also what they expect, and, really, when has it ever been otherwise? I'm not gonna worry about that, I relish the hearing of the splices, the hearing of the insets, all that. And when they're there but I can't notice them, that's a kick too. And when they're not there at all, well, congratulations to all concerned! Otherwise, live music is live music, recorded music is recorded music, not at all the same thing, just by nature. If we're going to be hardcore about this "real time experience" thing, then all the composer's sketches, all the player's practicings, they all do in fact become a form of sculpture or painting. And as long as there is electricity, the need to be present at a performance of music in order to experience it has become an option, not a necessity. Printing has long ago done the same thing with painting, and holography will at some point do the same for sculpture. Is it the same "thing"? Of course not. But by the same token, it is its own thing, and not recognizing it as such and then evaluating it entirely through the lens of one's own discomforts onto it seems to me to be more about subjective projection than it does logical evaluation. I would never argue against the validity and/or necessity of either, but I would never argue for the equating of the two. That's kinda like standing on the corner thinking that all the traffic is out to get you, to leave you stranded and vulnerable. That's an self-directed outcome, not an externally generated intent. To use the Sinatra example again, Duets sucks not because it's not "real, it sucks because they did it so poorly. And having heard the partner-less Siantra w/orchestra sessions, I can tell you that the whispers that they themselves were "cleaned up" a lot before ever getting into further post-production does not at all see far-fetched. And I'm ok with that, because it still hits the gut, and I'd have been ok with the Duets album as released if it and done so as well. But they didn't, they just slopped that shit together and didn't try to make it sound like they new what they were doing. OTOH, a good remixer would have made that shit work. Oh well, cynicism of intent revealed, but then again, I was not the kind of fool they were aiming that shit at eitehr. I'm the kind of fool that gets off on the Ring-A-Ding-Ding session reels. That, and this: Movies and theater, that's really what we're talking about here.

Teo was a classical composer. Seriously.

The Butt Sisters Sam Butera Bu Pleasant

Yeah, there was a time when inside some jazz bars in America might not have always been the kindest place for Lee Konitz to have found himself. Looks like it was his band, though...or maybe Shelly's? Shelly was likely to be safe anywhere.

I can't spell, but yeah, the Atlantic. Lloyd was an Avakian project, he made the lightening strike more than once. Looks like John Hammond had Handy, which maybe leads to the question - when did Avakian leave Columbia and why? As far as Monterrey, remember a while back there was that project of a Monterrey retrospective? Didn't they say that ever festival had been taped over the years, or something like that? And I'm also wondering what role Jimmy Lyons (the DJ) had in hooking up all these recordings. Does Ted Gioa go into any great detail about Lyons' off-the-air business, his promotional talents, etc.?

Short answer is "yes". Longer answer is "yes, but not without potentially a lot of time invested in getting the things you'll need to make it worth your while".

All I really "need" is the first three. But the Duke-Cobham thing with Scofield is a pretty worthy document.

Ok, this is it, correct? I had a somewhat similar-functioned Superscope machine back in the day, and with that mike input...I used used a single Radio Shack mike like they made for taking dictation and stuff. It was an improvement, but...even then, that type of mike input was...challenging. What those units were - and still can be - great for is for solo transcriptions. Slow 'em down to half-speed, the key doesn't change, just the octave, and all sorts of things come into focus. You can do that digitally, of course, but this works in an old-school analog way that I still feel good about. If you're doing this for a hobby, you can have a lot of fun going back and looking for retro mixers and stuff, as well as all the adapter cords and pins to make it work, but other wise, I got a Tascam DM 44WL over the summer for under $250.00 and although it's got features I don't even know about not knowing about, I'm recording gigs and rehearsals on it using just the two built-in (built-on, actually) X-Y condenser mikes and consider it one of the best investments I could have made, really. Keep in mind, though, that if this really is the mike setup, you've only got one input, so no matter how many mikes you have, you're still gonna end up with a mono recording. That "Remote" input is for the old-school mikes that had a stop and start switch on them. So, mono signal placed on two tracks. You got stereo outputs though, so you can still get psychedelic, but that's even more work.

Sure was. And I wonder how much they were influenced by the "west coast in front of a responsive audience in not really great quality audience recording" thing they were. In other words, was Avakian kinda angling his way into Brubeck through Garner, not that anybody with ambition would need motivation to sign to a label like Columbia, but just that Concert by The Sea, see Dave, we can do that, and then, boom here comes Jazz Goes To College, and then Hello, Miles, George, You say you want to do some records with us? Well, let's talk. Next thing you know, a legacy is built, and oh, what's this Forrest Flower thing that everybody's talking about?

Just had a Priority Mail Flat Rate envelope take eight full days to go from DFW to Sacramento, and it looks like it left DFW on time and didn't stop anywhere in between. Huh? fwiw, the counterman at our P.O. advised us that the Sacramento area was "slow sometimes"...anybody got a light to shine on that one?

fwiw, the Garner concert was not recorded for or by Columbia. I wonder if the zeitgeist of the time (i.e. - "west coast" setting, the success of Brubeck's recordings of essentially audience-level quality, led to Columbia/Avakian's willingness to release it as recorded. Besides, weren't most fake live recordings made as such to begin with? Like, the company took studio tapes and added the "live" ambiance? Not a case of recording somebody live and then RE-recording them in the studio? Now, let's solve the Tammi Terrell/Valerie Simpson case. That's far more curious than this one!

Jimmie Rowles deserves all this and then some, but geez louise - Jaws jamming with Lee Konitz, notice how that took place outdoors in France, and not inside a jazz bar in America.

Context, perhaps..was this not around the same time that Brubeck and Fantasy were having success with all the live Brubeck things full of audience reactions? None of which were particularly hi-fi, btw. and of course, JATP.

Is it true that Emma was the brains AND the bank behind the operation?

Honey Bear Cedric Cedric The Entertainer Scott Joplin

What I want to know is this - with all the money that Jazz @ Lincoln Center apparently has at their disposal, why aren't they spending some of it on obtaining publishing rights, recording rights, etc. The past dialogues of who "owns" this music still ring true, who gets the return on the capital expended in the jazz industry, I don't see anything changing.I see lavish salaries, opulent real estate, high budget performances, but I don't see any progress/evolution in who's getting the publishing, or the rights to the records, or anything like that. So, with the passage of time, as "jazz" becomes a cultural presentation rather than a daily lifestyle, those who own the products will be the ones incentivized to pimp'em out to get some more money back into their pockets. And I don't see where "jazz" is making an effort to become self-capitalized now that it has some resources at its disposal, npot too much past now being the owners of the minstral show. Yes, there are allteh educational programs, but when it comes time for that to come to fruition in terms of "product", where will the agents and managers and record comp[anies and promo people be? From inside jazz itself, or still from a "peripheral" industry? In teh old days, the cry was that jazz did not have access to capital. Well, now jazz does. And they using it to pay salaries and buy real estate. Hmmmm.... And is it just jazz? No, it's not. It's Motown (vs. Stax). It's Tin Pan Alley vs Hillbilly, it's anybody who has motivated institutionalized investment vs less clear/less organized ownership. Keep an eye on this - there seems to be a new trend in commercial radio developing - classic hip-hop. We have two such stations already here in the DFW area. Yes, the music has spanned enough time and spawned enough of a cross-generational audience that there's at least the aspirational possibility of monetizing that history into good old fashioned Oldies radio programming. Those of us who have seen the total revisionism of pop music history as the music of the 50s & 60s (I stopped caring when they started in on the70s and beyond) became narrowed and culled down into a convenient commercial narrative that spread across all kinds of social and artistic arenas, here we go again. Let's see how the ownership game plays out this time, let's see what songs get the juice to get the push, let's see if in 20 years the history of hip-hop looks any different than it does today. Follow the money.

Finances permitting, this will be one of those "buy it immediately, don't mess around and let it slip away" Mosaics for me.

On a roll? That's where things go to get eaten! But seriously, I'm looking forward to this, not jsut for our part, to the whole event. Should be a good 'en.

Thursday October 1 - JimSangrey & Summusic providing post-bookreading music at The Wild Detectives book store in Oak Cliff: http://www.thewilddetectives.com/2015/09/fiston-mwanza-mujilla-tram-83/ https://www.facebook.com/events/1655543408057137 We'll be on from 9-10:30, approximately, and it's all free. Two gigs in less than two weeks...it's a freakin' tour! The Wild Detectives, 314 W. 8th St, Oak Cliff. (214) 942-0108

Nikki Sixx Jack Six (Si!Si!) M.F.

There's a whole industry of "cultural ownership" that has variously vested interests in keeping this general repertoire in some version of the public eye. You'll be hearing them in movies, commercials, "projects", reading about them in books, etc. for as long as the profit incentive is working. It often has nothing to do with the song itself, much more to do with "cache", "culture", etc. Plant the seed, water the dirt, reap the harvest. Lather, rinse, repeat. As with most things, follow the money.

What kind of blank tapes can you get these days?

Look for this set to pop up cheap from time to time... I picked it up a few years ago when the Telarc boxes were showing up frequently at bargain prices: Erroll Garner Telarc box Wow, I was unaware of this box..looks to me to be prime 60s material from Mercury/Phillips/London, right? Not sure about "prime," at least in terms of backing. There are two albums with horns as a backdrop ("Up in Errol's Room" and "A New Kind of Love") that I recall as not being ideal -- sampling might be in order first, if possible -- but "Closeup in Swing," "Campus Concert," and "Feeling is Believing" are all quite good, and "At the Movies" is superb, one of my favorites Garner albums. I pulled the plug on the box for 25 bucks in used condition. It's also got Gemini & The Magician, both of which I've long enjoyed on LP. so, at that price, hey, we good.