JSngry

It's about time we honor the President!

Let me, hopefully, clear up any misunderstanding before it occurs. I am in no way implying that Mr. Ricci (or Ms. Gilbert) are trying to rip people off, either now or in the future. All I'm saying is allowing the discussion of problems at other boards, or information to be found on other boards, to be discussed on their own boards seems to me to be the type of "humanitarian aid" that creates goodwill throughout the community, whereas the prohibition of same seems to be exercising a sort of "exclusivity clause" that is usually accompanied by some sort of compensation. One does not usually take kindly to one's ideas being viewed in a strictly proprietary manner by someone who has not in some manner paid for the privilige, and when the edict is issued that information about or on other boards is not welcome, that, to me, is exerting a form of "ownership" beyond relatively simple matters such as keeping a board clear of "offensive" or "inappropriate" content. Again, there is no suggestion of impropriety or malevolence in this statement. I just think that there are perhaps some expectations of "exclusivity" that are not necessarily based in the realities of jazz cyberspace.

From what I can remember, the "Captain Marvel Band" got very positive reviews at the time for its live gigs. It was a new sound for Getz, a compositional "breakthrough" for Corea, and positively recieved as such by most critics. For some reason, CAPTAIN MARVEL (the album) sat in the CBS vaults for several years before finally being released, one of several albums (another being the Benny Goodman/George Benson date) that were the subject of occasional but ongoing "wait until you hear this, IF you ever get to hear it" type "teasers" in Down Beat & a few other jazz pubs at the time. The album was recorded beofre the first ECM RTF album, I believe, but wasn't released until after RTF had been through several morphings, I'm thinking that by the time CAPTAIN MARVEL was released, RTF was well into its overwrought and bloated Gayle Moran/horn section days. So, yeah, hindsight must have been bitter.

We do indeed. I've been known to play benefits for people I've never even met personally. Just a word from "a friend of a friend" is often all it takes. And I'm not unusual in this regard. All professions have their "brotherhood", and the brotherhood I've witnessed amongst musicians is a special thing. One you get away from the flaking out and the backstabbing ( ), it's a beautiful bunch of people.

"afraid of what Sngry will say"? Surely you jest! Ellery Eskelin is an outstanding player!

No deeper machinations. Like I said, it's a business. The site would like to someday turn a profit. and I hope they do. Still, the fact remains that the site's potential for profitability depends on content. To my knowledge, AAJ does not offer compensation for content (other than copies of CDs reviewed), which is totaly understandable if there is no money available. Mr. Ricci offered to post Dan's interview w/Weinstock if Dan couldn't get it published elsewhere. I think an interview of this nature is pretty significant if it was properly conducted (and I have no reason to think that it wasn't), and would be quite a feather in any jazz site's cap. If I had it in my possession, I don't think I'd just give it away. Now, when does "I'd like to pay you but I can't" turn into something a little (or lot) less benign? Of course, willful particiapation in a bulletin board is nothing that any sane individual should expect to be compensated for, but the fact remains - a hopping board means more traffic, more traffic makes for better stats, and better stats make for a more appealing "product" to sell to potential advertisers. When does an honest solicitation of content become looking for a free ride? I don't know. I am in NO way accusing Mr. Ricci of having reached that stage, but I do know that here at Organissimo, I don't ever worry about it becoming an issue in the first place, and that's why this is my board of choice. It's the UHF of jazz boards, but hey - it's OUR UHF!

MORE REVIEWS!!!!!

And still the Rangers have no pitching...

I like verbs, they rule!

AAJ is a site that is trying to turn a profit. BN boards, old & Neo-Euro, were/are P.R. organs (no pun intended) of a "major" label. Jazz Corner is a good site, and seems to sincerely support the musicians first and foremost, but I never really felt a "personality fit" there myself. I'm sure there are several other boards that I'm not aware of that are run by and for fans of the music w/o concern for profit, but I'm not familar w/them (other than the Harlem board). The point is, like Chaney said earlier in another thread (and I meant to give you a shoutout for that one, dude, but I got sidetracked...), a for-profit and/or PR site is dependent upon content. WE provide the content here, and we do it for US. Yeah, Organissimo (the band) benefits from the exposure the board gives them, but this board is not a for-profit venture, nor is it primarily a PR tool. It's a site where fans and musicians can hang out w/o fear of anything other than pissing off Jim & his brother, which as far as I'm concerned is a pretty damn loose set of parameters. The jazz community is small, relatively speaking, and the competition for our business is fierce. Don't let anybody play you for a chump - a LOT of aspects of this business want you only as long as you can put bucks in their pocket (even if it's only by giving them a "demographic" to present to advertisers). When that becomes problematic, they deal with it, and seldom gracefully. Nothing evil about that, it's just business. But the key here is that the Organissimo Board AIN'T ABOUT THE BUSINESS, it's about the music (and the auxillary issues that we bring to the table). Sure some of us sometimes have product to sell, but in this environment, it's about as "business" as buying Girl Scout Cookies from you neighbor's daughter. And yeah, that's a good thing. I bear none of the other sites any ill-will (even though I recently said "Fuck Blue Note", a more accurate statement would have been "Fuck Blue Note. I love 'em, but fuck'em". If you have to ask...), but looking at the options, I really don't want to actively participate in a forum where my input (and that of everybody else's) serves ANY other purpose than what WE intend for it to. Jim's amazingly tolerant of "outside advertisements" on this board, and I think that speaks to the true nature of what we have here - a forum with no ulterior motive other than to just be here when and do what we want/need it to. And when all the server issues, etc. finally get resolved once and for all, we'll have it on a consistent basis!

Well, hey, if nobody's home, that's a different set of rules now, ain't it!

Sony/Columbia/Legacy/whatever. It's got a 2003 copyright date, but I'm thinking that's LATE 2003. I picked it up @ the Red Trumpet Super Bowl Sale for, like, $7.99, regularly $9.99 according to the site, I think. I'm much digging this one, brings back old memories, and has already started making new ones. Stan is all over this shit like white on rice. And I don't care what nobody says, I DIG electric piano when it's like this. Clarke's pitch is a little weak, but hell, he was what, 12 at the time? And Tony!

Limited posting time today, but three bonus cuts and cleaner sound (I think a lot or all of the reverb's been removed, but have only done car listening so far, so...). Definitely one of Getz's finest, an early document of the classic "first" Return To Forever songbook, some monster Chick Corea (don't like electric piano? sorry...), and maybe, MAYBE the last "official" document of old-school Tony Williams cymbal swoosh. Essential, imo.

EXCELLENT idea!

I'm glad somebody said it.

Dude, I come in through the front door or I don't come in at all.Call it occupational training...

It's good to be home.

Well, the last time I suggested "f**king" another board, I nearly caused a riot (or a nervous breakdown, I honestly couldn't tell which), so I'll not do that to/about AAJ, being content instead to note their attitude and "proceed accordingly".

So did you try it, Jim? I tried doing it audibly yeaterday afternoon, and it didn't work because I do a sucky Porky Pig, but if you can just hear it in your mind, that's enough, especially when she does those ascending lines on the downbeats with a constant note on the upbeats - (a)BLEE(a)BLEE(a)BLEE(a)BLEE(a)BLEE-bluhhhh. I tell you man, it's Porky Pig on B-3! I love it!