JSngry

Vic Chesnutt The Friars Club Mel Torme

Is "out of our constrictions" an overt George Clinton reference?

One of them hung around for a while and just recently went on Last Call. Maybe that's what is being thought of?

Also one in The New Yorker, as a "Pop Music" review. https://www.newyorker.com/magazine/2021/03/29/pharoah-sanders-takes-on-electronic-music So, seems to be reaching a diverse audience for probably equally diverse reasons. Not a bad thing, imo, although...when did Pharoah star playing C-Melody?

Truthfully, if push comes to shove, I have a lot easier a time paying <$10.00 for a lossless DL + PDF on a new release than I do paying $20.00 + for a freaking LP of the same record.

Zone. What is Susan Chen up to these days?

Herbie's made a lot of money from his music in a lot of ways.

Misty Dawn Fawn Hall Lance Alworth

LOTS of people covered "Watermelon Man", and Herbie got paid every time (or should have). https://secondhandsongs.com/performance/20707 this list may not be comprehensive. probably isn't. that's why publishing matters. Even if a song is a small/cult hit, if it gets recorded (and back in the day, when it literally got published, like, sheet music), publishing should get paid. and 50% is half of $100%, so...what would you want, half or whole? oh, ASCAP/BMI etc...public performances should be included, especially for "shows", but also, supposedly-but-not-really, club dates.

50% is half of 100%, right? Double the money if you get it all. 50% sounds like a lot, but it's only half of the money. On either side, label or artist, that's a sizeable difference if/when things get real, and perhaps a meaningful one even if they don't. And yes, Donald Byrd taught a lot of people about the music business.

God, does nobody remember Cool Struttin'?

History will record the suicidal hubris of a people who think that the absolutism of nature will bend to their various abstract intellectual constructs of "liberty".

https://jazztimes.com/features/columns/steve-swallow-pete-la-roca/ Another song on the date is my piece, ‘Eiderdown,’ which is actually the first recording of one of my compositions. It’s also the only tune of mine that I don’t own. Alfred Lion snatched it right out of my hands. After the date had been done, I got a phone call from Alfred and he said, ‘Oh, by the way, “Eiderdown,” who is publishing that?’ I had no idea what he was talking about. I said, ‘Gee, I don’t know.’ Alfred said, ‘No problem.’ He then proceeded to offer me this ‘wonderful’ deal. He would publish it for me and take care of everything and I wouldn’t have to worry about a thing. I was so grateful. ‘Gee, Alfred. Thank you so much.’ I haven’t been able to get that tune back after all these years. Blue Note sold it, it’s gone around, and some big conglomerate owns it now. I keep trying to buy it back because it has been recorded fairly often. “That’s another kind of Blue Note story. It is a great blessing to jazz that Blue Note existed, but on the business side they were also sort of gangsters This is not the only story about Lion (and other indie owners) playing hardball with publishing...Ronny Boykins claimed that Horace Parlan was dropped from the label because of Parlan baking him on his insistence on keeping the publication on his two tunes the date they did together, the record that is now known as Happy Frame Of Mind. Publishing is a tricky game, and for indie label owners, it had a real impact on margins. So "stole" is maybe a strong word..."forcible leverage" is not. fwiw, a look around shows that there have also been two other publishers listed for the tune, both involving "buns". Go figure. https://imgv2-1-f.scribdassets.com/img/document/134300150/original/5f11b891f5/1596543262?v=1 shows "Wonderbuns" and then this. "Soft Buns":

Blue Gene Tyranny Freddie Slack Chino Pozo

Bob Barker Beulah Maid Marian

It's a compilation, but a good one. I can listen to Warn in any combination, any combination at all.

Margaret Thatcher Phil Roof J. B. Hutto

yeah, you take it if you need it after. but you maynot need it, many people get #2 and keep on going without as much as a ninch.

Ok, YouTube is saying Curtis Amy. and drummer Johnny Kirkwood. I could play this record if I had it. Sure could.

There's YouTube clips, tenor player has a VERY nice phraseology. Like Jug in his lighter moments...I'm thinking Rusty Bryant almost. But that ain't a Rusty Bryant Head on that cover...

Glasses?

Chet Atkins Fred Gretsch Ludwig Von Drake

I have no idea. Probably will get the bills paid for a day or two. But it's this new Joe Henderson set that will really drive the Mosaic Renaissance.

I don't need this one, no. Apparently there are those who either need it or want it enough to spring for it. But for me, it's great material that has already been presented as such. Not really feeling the need for what I fear would be gilding the lilly, or whatever that expression is. But what Mosaic needs now is whatever will sell, and hopefully Louis Armstrong will always sell, I mean, there's a proven market, and I fear for a world where there's not.. But I got finite resources to spend in finite-ish time on infinite music, and this set doesn't get me further along in awareness than it does in cost, which is my criterion at this point in time. However, if you do not have this music in any meaningful quantity, then hell yeah, you DO need this set. The core materials are the stuff of magnificence.

Planing will indeed be needed, as holographic Louis will both descend into hell and ascend into heaven, all the while keeping holographic Arvell Shaw planted firmly on the ground. So you gotta get right before it's too late. I'm working overtime getting the Popal Experience Area ready, although Grampa Sangrey's early 20th Century hand planer wasn't equipped for ceramic tile, so retrofitting is an ongoing process. Give it some good old fashioned WHOLE wood and it'll go to town, believe me!