JSngry

Took me a while to flash on one this since it's so new, but the alternate takes of Warne Marsh's "I Have A Good One For You" on the new ALL MUSIC CD are among the most revealing (and interesting) such items I've ever heard.

I have an Atlantic 45 (blue & silver label, whatever significance that has) of "Una Muy Bonita", pts 1 & 2. There must have been some jukeboxes SOMEwhere!

Same here. And I still dig Fred Lipsius' alto solo, even though I NOW know (as I did not know then) that it's a Cannonball Clone!

I post this both to mock the results of "mechanized" translations (and rest assured, I would never mock a real person's attempts to navigate a second language. I know it's tough. But this is not the result of any person's work, so I think it's fair game) and because Lundvall makes some very good business points here. I still say that although most of the label's "real" jazz output these days doesn't particularly interest me, those for whom it does should be thankful that as shrewd an operator as Bruce Lundvall is at the helm. This guy and whatever music he throws his support behind WILL survive in some form or fashion. However... There are moe than enough unintentionally hilarious turns of phrase in this article thanks to the translation engine's literalness to entertain us for decades to come! Bruce Lundvall, producer: "the jazz can bring back money" "Blue Note France is, except the United States, the most active structure"|AFP - Vince Bucci/Getty Images From the 4 to April 9, in Paris, a festival introduces the artists of division jazz of major EMI. Entretien with the president of the phonographic company Blue Note Records. Producer, president de Blue Notes Records, most famous from the phonographic companies of jazz, Bruce Lundvall was born on September 13, 1935 in Englewood (New Jersey). In 1960, this graduate in trade and finance are engaged at the department "marketing" of the house of discs Columbia Records, of which he will become president. He leaves it in 1982 for Elektra-Musician, label dedicated to the jazz, before joining, in 1985, Blue Note, division jazz of major EMI. Today chairman of the sector jazz and traditional of EMI, always president de Blue Note, Bruce Lundvall was in Paris to finish, with the organizers, the preparation of Blue Note Festival, envisaged in several rooms of the capital from the 4 to April 9. For which reasons the first edition of a festival strictly devoted to the artists Blue Note does take place it in France and not in the United States? The project is an initiative of Nicolas Pflug, person in charge for the label in France. It studied of it reliability and we were convinced. We already organized special nights Blue Note, and for the sixty years anniversary of the label, founded in 1939 per Alfred Lion, our artists were programmed in several clubs new-yorkais ( the World of January 20, 1999). Blue Note France is, out the United States, the most active structure in terms of signature of artists and of many musicians of the catalogue are French (Michel Petrucciani, Jacky Terrasson, the Prysm trio, Saint-Germain, Erik Truffaz...). It is thus finally rather logical. There would be at Blue Note, there too, a French cultural exception? Your country was always attentive with the jazz. Many musicians afro-American were accomodated there as artists. The first house of discs only devoted to the jazz was French - Swing, founded in 1937 per Charles Delaunay- . Then, it is that the team of Blue Note France is active, ambitious, has ideas and that they find a good echo near the public. All the discs signed here were published in the United States. What is not always the case with our other European branches or Japanese women where certain artists are very specific to the local markets. The jazz is however supposed to have a capacity to like beyond the borders. Do you think that that is founded? I do not know. There are pools, history, on which the amateurs of jazz find themselves. But, for example, the guitarist Stanley Jordan, one of the first to join Blue Note in 1985, had success in the United States and Japan and much less in Europe. The group Medeski Martin & Wood is very popular in the United States, and little known elsewhere, because it is related to the scene of the jam bands , which is not developed at all apart from our country. We never reason by thinking that it is necessary to like everyone - what however arrived recently with Norah Jones. The immense success of this young singer it puts Blue Note at the shelter for the ten years to come? The profits generated by the sales of Come Away With Me , its first album at this day 18 million specimens , are redistributed on the whole of the house. It is good for the value of the actions of EMI, from a personal point of view that gives me a no-claims bonus and that makes it possible Blue Note to sereinement consider the next exits. But not for the ten years to come. Our annual budget for the signatures and marketing rests at the same time on what we gained and on the forecasts of expenditure. I always said that the jazz could bring back money. And I always also said that it was necessary to manage prudently. To make profits was always assumed by Blue Note, whereas often, particularly in France, jazz and money are not supposed to do good housework. When I met Alfred Lion in 1985, its first sentence was: "That do you have the intention to make to earn money?" What he wanted to say by there, it was that financial independence allows artistic independence. By making profits, we can produce who we want under the best conditions. Because it is about jazz that should remain miserable? It is stupid. And because that pays it is not art? For soon twenty years that I direct Blue Note, we have always made profit. If I lost money, in the current configuration of the industry of the disc, I would be in the position of other labels which cannot sign any more or which must give up the jazz. Those which would suffer from it would be initially the artists. Among the new ones come at Blue Notes, there is the trumpet player Wynton Marsalis, but also of the rather pop singers and rock'n'roll like Van Morrison, Al Green, Norah Jones or Anita Baker. Doesn't that scramble the identity of the label? Blue Note was always attentive with what occurred in and around the jazz. When Alfred Lion recorded hardware bop in the years 1950, there were already people for whom it was not any more of the jazz. In the years 1970, the artists of the label also played of the soul, of the rock'n'roll. All are henceforth regarded as the traditional ones. Morrison comes from the blues and the jazz, Al Green of the gospel. It is coherent. I have known Bruce Springsteen for my years at Columbia. I would be delighted by sign it, but not at Blue Note. That would not have any direction. Would the label thus reflect well the landscape of the jazz in 2004? We have historical personalities like Pat Martino, of the musicians appeared in the years 1970 like Joe Lovano, the following generation with Wynton Marsalis. Roy Hargrove, which mixes the funk or electronics, Jacky Terrasson, which is more anchored in the acoustic tradition, of the singers, Patricia Barber or Cassandra Wilson, the jazz afro-Cuban with Chucho Valdez or Gonzalo Rubalcaba... Indeed, the field is broad. With the image of what always the jazz proposed and which it will continue to make.

Hampy Birfdeigh!

I would very much like to hear that.

As much as I like the idea of "a basic jazz library", my personal experience tells me that the only truly meaningful way to assemble one is through personal discovery, trial-and-error, etc. If you really, really, feel the music, you'll get to all the classics eventually, when you're ready for them (and when they're ready for you), and the music will then have PERSONAL meaning, it won't be an assemblage of things that you listen to because you're "supposed" to like them. Granted, this way takes a lot longer, usually, and can/will lead to periods of "false expertise" (again, I speak from personal experience here). But we all go through various stages of personal development, right? So why should our musical development be any different? A listener is a living being, the music is a living organism (ideally), and living things develop at their own pace, like it or not! So I say just go for what you like, and ASK QUESTIONS, both of others and of yourself. Dive in, be fearless, explore, connect-the-dots, respect the knowledge of your elders but don't accept it blindly (wait until they've been proven right first! ), all that. Music is indeed medicinal, but it need not be treated like medicine, something that you "have to" take in order to be well. It's more nourishment, and pallates develop as they will. Guide, by all means (PLEASE!), but by no means force - you can't MAKE anybody like ANYTHING. If you feel it, you'll get it, eventually. It's like the song says, "Them that's got shall get, them that's not shall lose". Probably not what the Lady specifically had in mind, but of such Universal Applications are Eternal Truths made.

it would have been stranger if it was George Shearing! Stranger still if he had wanted to PLAY baseball...

It needs to go bach to Germany p.d.q. so it can be added to the liszt.

So let's see... There's Roger Humphries, Lex Humphries, Roger Lee Humphrey, Ralph Humphrey, Paul Humphries, and Paul Humphrey, drummers all, and all good ones. Kinda makes you wonder what Hubert Humprey might have accomplished if he'd gone into music instead of politics...

Is there a recording ANYWHERE of Harpo speaking?

Happpy Birrrthday Clauuude!

I respect him a LOT more than I like him, and it's not a "chops" issue w/me (faulting anybody for having "too much" technique is stupid, but having reservations about what they use it for isn't), but rather an emotional one. I think he's prone to "style over substance" a lot of times, and his pallate is often flourescent in color to my ears. But "a lot" and "often" is not "always", not by any means. Different strokes, pick and choose, etc. That's what I think of him.

I think I like his comping even more than his soloing, especially on this one.

"Do you have everything?" "I haven't had any complaints so far...."

I can go with that story too. Call it a type of Messianic Complex if you want. But it also goes towards the "divided soul" mentality (the title of David Ritz' excellent Marvin Gaye bio, btw), the conflict betweent the world of the flesh and the world of the spirit that permeates, or used to permeate, a lot more of African American musical culture than one might suspect. I've seen it in action locally, actually, and for those of us who don't see the need for such a divide, the power of the conflict seems almost perverse in its strength. But it is very real.

Yep!

Well you know, they're beyond classic, really. They're in the realm of the archtypical. And I've never hear those ALBUMS. Who knows what (if any) gems got buried/lost in there? But that's a steep price to find out.

Hey, don't get me wrong, I think it's an essential set of superb (and important) music. But I also know that the Tristano thing just never reaches some people, and it's not necessarily a "defect" on their part, if you know what I mean. Different strokes, etc...

It might be. Just use the central Newark PO instead of a more modern substation. The box is most likely still active if the post office is still there.. The question is who the boxholder is... Yeah, it's a waylongshot, but for 37 cents, why not?

Not on my Internet they're not...

I recieved this e-mail just last Thursday, March 25, 2004, A.D. @ 5:16 PM: Dionne Warwick - Very Dionne CD Price $19.98 By the late '60s Dionne Warwick had become an international star and the virtual embodiment of the Burt Bacharach-Hal David songbook. A former background singer with gospel and R&B roots, she made her name with sophisticated Brill Building pop that appealed to both white and black audiences. She was the jewel of the Scepter Records roster. Very Dionne, released in 1970, was the last album Dionne Warwick recorded for the independent Scepter label before signing a deal with Warner Bros. Her new contract was the most lucrative ever awarded a female artist up to that time. Very Dionne is notable for its relative absence of Bacharach-David tunes. Along with three of their compositions (among them "Check Out Time," one of the duo's most cleverly constructed songs), the album gathers a wide array of material. The Beatles' "Yesterday," Paul Williams' "We've Only Just Begun," and "I Got Love," from the Broadway musical Purlie, were all given elegant arrangements by Marty Paich; other highlights include a fine version of Little Anthony & The Imperials' "Going Out Of My Head." Along with the entire original release of Very Dionne, four tracks from 1977's Only Love Can Break A Heart and three tracks from 1971's The Dionne Warwick Story: A Decade Of Gold are also included on this Rhino Handmade release. An additional ten previously unreleased tracks include several live cuts and a duet version with B.J. Thomas of "They Don't Give Medals To Yesterday's Heroes." David Nathan's liner notes offer extensive back-story on the bonus material. Very Dionne is available as an individually numbered limited edition of 5,000 copies. Get it at: http://www.rhinohandmade.com/browse/Produc...sso?Number=7869 Dionne Warwick - The Windows Of The World / Valley Of The Dolls CD Price $19.98 This expanded and remastered Rhino Handmade edition gathers Warwick's two finest Scepter albums, along with three bonus tracks previously unreleased in the U.S. Work began on Windows Of The World in 1966, as Warwick's reading of "Alfie" was soaring up the charts. She entered the studio with producer-songwriters Bacharach and David and recorded several songs, including her signature hit "I Say A Little Prayer" and the poignant ballad "The Beginning Of Loneliness," which had been intended as a single before being eclipsed by its B-side, "Alfie." The fast and furious "Another Night" was a departure for the trio, as was "The Windows Of The World," a political song about the Vietnam War. Several standards, including West Side Story's "Somewhere," also appeared on the album. The bonus track "Taking A Chance On Love" has never been released anywhere in the world. Ironically, a non-Bacharach-David song would give Warwick her biggest movie-theme hit, "(Theme From) Valley Of The Dolls" (the version heard here is the Scepter single version). Other standout tracks on Valley Of The Dolls include Jimmy Webb's "Up, Up And Away" and the perennial favorite "Do You Know The Way To San Jose." Two Italian-language songs, "Lo Volce Di Silenzio" -- "Silent Voices" is the English version included on the album -- and "Dedicato All Amore," make their Stateside debut as bonus tracks. The Windows Of The World / Valley Of The Dolls is available as an individually numbered limited edition of 5,000 copies. Get it at: http://www.rhinohandmade.com/browse/Produc...sso?Number=7859 Turning Off The Television Maybe it happened because we launched it together with expanded editions of the band's classic Marquee Moon and Adventure albums. Maybe it's because the CD offers a unique live look at a seminal alternative rock group. Maybe people just have a soft spot in their hearts for skinny, intellectual guitar heroes. Whatever the reason, our limited edition Television release, Live At The Old Waldorf, San Francisco, 6/29/78 is almost sold out. That's right, we said almost - act quickly and you might still have time to snag a copy of Rhino Handmade's fastest-selling release ever. Go to http://www.rhinohandmade.com now before we have to turn off the Television. (and while we're at it, the John Coltrane Complete Atlantic Recordings vinyl box and the Sonny Bono CD are also teetering on the brink of extinction!) Other Rhino Handmade Releases You Might Enjoy: Cher - 3614 Jackson Highway Jackie DeShannon - Jackie...Plus Peggy Lee - Let's Love (Expanded & Remastered) Dionne Warwick - Promises, Promises/I'll Never Fall In Love Again Dionne Warwick - Soulful Plus I very much loves me some Dionne from this era. But I don't know if I loves me some 40 bucks for 2 Cds...

Or maybe it just don't do it for him, in which case, I'd not sweat it.

No wonder my letters don't get answered.

But the hole is bigger in order to compensate for the lost accuracy. Would that all of life was so forgiving.