JSngry

...pig's feet would be chicken wings?

Jane Kean Sheila MacRae ART CARNEY!!!!!

http://artsbeat.blogs.nytimes.com/2008/02/27/qa-with-sam-tanenhaus-on-william-f-buckley/?_r=0 Monk's boat, baby. Nobody falls asleep on Monk's ark.

That's why it needs to go offshore, to international waters, like William F. Buckley did when he decided to try pot. Monk got the boat!

Yeah, but Monk owns the boat. Quiet as it's kept, Monk was a big arksman.

Oh, I like Keith too, not as devotional about it as some of the more ardent folks, but definitely more than the auto-haters either. But in this scenario, it's all about only room for one more, so you got to think overall group comfort. Evans couldn't sit up straight, the attendants would be having to work around him and all that, he'd always be at a 90 degree angle, but the wrong way, and Jarrett would be whining/groaning all the time. The choices are between the Proner, the Moaner, or Paul Bley. On my boat, for my passengers' comfort and pleasure, Bley gets the seat. Anchors away!

Once I decided to start getting out of the house again, I just assumed that there would be chamber music offered with the financial oomph that the Symphony gets, but sad to say, no. But there are several series/societies that are funded by a combination of private and corporate input that appear to be doing excellent work. What I'm still trying to get a handle on is where d the local groups play, or even if they do? Quite teh talent pool here, and with UNT just up the road, there;'s always recitals and things going on, but you know, I don't want to drive an hour just to hear some students playing because its a requirement, i you know what Imean. Been trying to cultivate some sources inside the school to kinda point out the interesting things, but between their natural demands on their time and the real ethical concerns of going outside the home turf with objective rating of their own students, haven't had much luck. No matter, though. It's just good to know that there are things going on besides the "Big Show" of the DSO, worthy things, affordable worthy things. Seek and ye shall find, apparently.

I bought that CD in the lobby on the way out last night, btw. Paid $20 freakin' dollars cash for it, didn't get a receipt. Some skinny girl standing around with a lost look on her face and one of those payboxes in her hand. The table was swarming with old people trying to decipher what she had just played and which CDs it was on, so there was much...chatting & browsing. Me, I just walked up took a copy of the Carter (which as you know also has the Elgar, which is what she's playing with the DSO this weekend, we don't get no Elliot Carter out of the DSO, at least not yet), and handed it to her like, ok, she would want to scan this or something, but she just smiled and said "yes" and started to look away, but then I handed her a 20 and with the same blank stare she again said "yes thank you" and went back to blankstaring at all the browsers. I have no idea what kind of transaction that was, it felt like I was stealing it, except that the $20 changed hands. But otherwise, I felt like that lady was just standing there and was going to let anybody walk off with anything if they didn't say something to her. I've had online transactions take on more personal engagement than this one did! Pretty funny, really.

A solo cello recital by a bold cellist...in an intimate setting, can't say I've ever had an experience quite like that before. Nowhere for the music to go but straight to you, and nowhere for it to come from except that one person and that one instrument. Pretty damn ballsy endeavor, come to think of it!

If there was, like, a Noah's Ark of post-bop/pre-Cecil pianists, and this ark had one seat left on it, and the rain was stating to come down pretty good, and the two people left at the boarding ramp were Bill Evans & Keith Jarrett,, I'd round up a posse to find Paul Bley in five minutes or less, get him on the boat in a bigass hurry, close it on up, and tell Evans and Jarrett to head for high ground ASAP, sorry, nothing personal,, but we got all that now, plus a little somethin-somethin extra. See ya'll after this whole thing blows over and dries out!

And Eddie Preston, Martin Banks, Wade Marcus, Danny Turner, and Pee Wee Moore...damn. Are there any trumpet solos? There's not enough Preston or Banks out there. I'm asking about trumpet solos on a record with Red Holloway on it. Must be the last days of something....

James Booker? http://homeofthegroove.blogspot.it/2004/10/looks-like-we-have-audio.html Slide Hampton? http://www.ebay.com/itm/LLOYD-PRICE-This-Is-My-Band-Slide-Hampton-stereo-LP-/220689241122 Where have you found this have you?

Too soon to tell for sure, but I'm starting to feel that too-familiar, "uh-oh, you should have left this one alone, you don't have enough time left in this or any other life to deal with all this" about Morton Feldman's Crippled Symmetry by California EAR Unit on Bridge. Not my first Feldman, but the first one I've not been able to listen to a few times, say, ok, I got it, and then move on. This one, it's easy to hear what's there, except that it's easier to come back and hear it again and realize that, yes, that's all there, but so is THIS, and then, there you go. No doubt true of so much Feldman (and of so much music in general), but this is the one that's getting its fangs increasingly buried.

I enjoyed blowing up the buildings until all that was left to live in was my car. And then it blew up, all by itself. UH-oh!

I'm glad I'll be dead before this shit goes totally wrong...at least I hope I will be. I know, be careful what you wish for, etc. In fairness to everybody, though, of what use is truth to any but the living, and of what use is reality to any but the survivors?

Wow...totally non-"sentimental" playing, but intensely passionate. Brenda was visibly shaken (physically and emotionally) after the Kodaly, she'd never heard anything like that live, and I've never heard any "classical" music like this live, not of/at this sustained level of....everything. Plus, the venue was a really small room, not a "hall" but an actual room, just a room, with a modular assembled stage and about 250 chairs. Not "seats", chairs. Some were reserved, but they left some open ones from the second row back. By doing the work and getting there early, we were able to get second row center, no more than 30 feet away, dead center, look straight ahead and you're looking at the bridge of the cello. Having not paid attention to the real specifics of anybody's bowing technique for several decades now (and then, just looking, not really paying attention), to hear these sounds and be able to see that bowing that close, was mesmerizing. $20 bucks folks, this is what you can get in Dallas for $20, thanks to the Nasher family and the way they work it after they make it. The Nasher family has ensured that you can just mosey on in and see Warhol hanging in a mall, and you can see Alisa Weilerstein rockin' it (really, why isn't this woman getting the PR push that the charming mild-mannered Yo Yo Ma did a generation ago? Rhetorical question, of course) for $20 (and complimentary valet parking, btw, which in near freezing weather was not unwelcome!). Kill the rich, my ass. RETRAIN 'em to all be Nashers, that'll do just fine, thank you and good night.

Ok, then. Instead of discussing whether or not steaming is killing the music industry, let's discuss how billboards are saving it!

I get that part of it, but it seems to me to be Stone Age, because even that "local market" is plugged into all the social media tools, which are faster and more efficient to accomplish the same point, unless some Stonehenge/2001-esque monolith thing still holds an appeal for a selected audience. But yeah, really stone age. There was a time when it was cool, all these billboards creating buzz, it really was a part of the culture, becuase you did not have the instantaneousness of information dissemination that you do now. Now, they're really trailing edge. Unless a release is following some retro marketing strategy, it's quite possible to have the release info'ed, previewed, pirated/"pirated" and already circulated to some degree before a billboard gets viewed by, say, 5000 people.

I think he generally did his best playings outside of his own groups. Ok, maybe not "best", but definitely the playing of his that I can engage in more. Tony Scott, George Russell, Oliver Nelson, Miles, etc.

One Taylor Swift Tweet reaches a bajillion times more people before they get out of bed than will see one billboard in a week, and with more information. And that's just one Tweet. Nobody does just one Tweet. At some point, I could see Taylor Swift becoming to the music industry what Mary Pickford and her cohorts became to the film industry, a brave surge of independence that make a new day and a new way and eventually becomes pretty much the same thing it declared independence from. That's just the way things go.

And that is more likely to hurt whom - Taylor Swift or Spotify? All Taylor Swift needs to do is be in the place where people are looking and she'll get her money. If Spotify's not that place, it ain't gonna hurt her. I sincerely do not believe that "selling records" is going to be a viable primary survival strategy for anybody of any stature in any kind of music. At best, they're promotional tools, calling cards for whatever means of sustainable monetization are out there at any given time. I mean, in today's world, this shit here is laughable right here, Flintstone-ly analog, but that was the "music industry" at its rip-roarin', nostril-snortin' absolute peak. Again - Inevitably Emerging Paradigm: Record Industry = Gentleman Farmer Music Industry = Monsanto I hate Monsanto, not only have they skullfucked agriculture, but they also invented Astroturf, thereby skullfucking sports. So I'm ok with the gentleman farmers of the world having this new opportunity to sell to their neighbors. But both "they"s in this equation, the gentleman farmer and their neighbors, should view this as an opportunity for mutually beneficial/reliant protection, not a loss, and for damn sure not an "opportunity" for anything other than a stay of execution for the termination of their Utopic independence/survival/protection. Because if/when Taylor Swift can destroy Monsanto, then good for her, even if the likely outcome is that she'll become her own Monsanto, or partner up with those who will be. Tell me again how United Artists came to be?

Was Roy Cohn at all an inspiration for Thurm?

No, I'm not confused. There is music, the business of music, the music business, and the music industry. This thread is about the music industry, and the emerging "new" music industry is increasingly going to be all about, as you put it, "celebrity", which is all about being seen. Not who or what is being seen (much less heard, even much less listened to), but just about having somebody in that place that is being looked at, for however long there is a hook to have that particular occupant looked at. Am I enthusiastic about this? Not particularly. But the decision is being made without my input. Idol, Voice, all that stuff, that's your music industry today. It sure as hell ain't the unheard 99% just needing that one big break to get heard. That's now, at best, at the level of the music business. Wait another 25-50 years when all the old-schoolers, players and audiences are dead, see what's left, who, and how. It's gonna get a whole helluva worse before it gets better, if you want to look at it in those terms. "Industry" is built on mass, masses demand "content", and the more interchangeable content becomes, the easier it is for industry to thrive. So if the discussion is genuinely about the "music industry", I think we have our answers right in front of us. Resistance might be advisable, but nevertheless remains futile. This is not really new, but the level of efficiency might be, and the people figuring it out definitely are. And yet/so, the beat goes on.