JSngry

Here's a win-win! Make the wife happy, and get outta the house and into the great outdoors. And a freezer full of meat to last you the winter!

Maybe somebody is reissuing it elsewhere and CD Japan is importing it. That's a pretty straightforward statement, if you take it at face value.

Hey Tommy, just emailed you my order. This was a painful process, finally got it down to 24 items...if I was younger, less married, and had more shelf space than I do now, I'd take practically all of them. Then again, if I was younger, less married, and had more shelf space than I do now, I could have only afforded, like, about 5 items. Life is neither fair nor perfect, but considering the alternative, hey.,

I've heard James Brown & Sly a few times (which I "get", but only at the most superficial level), but that's the first time I've heard Santana. Do tell!

Carpe diem!

I had known Bill Cole from some really ideologically pissy Down Beat records reviews that I read while still in my teens (one of which I wrote a letter to the editor about, and it was actually published!), so his Miles book came as no surprise. It's just pissy, period (and his Coltrane bio was a lot better in that regard). But what DID surprise me was when he was involved in some some academic dispute a decade or so later that actually got a little something on the "tv news". Here, the guy came of as just a really whiny, sniveling, PISSY litle punk, and the footage of him playing with his student ensemble was beyond weak. Ideology does not justify incompetence, musical or intellectually, and the cowardice of standing behind it to posit that it does is a reprehensible practice. So, yeah, fuck Bill Cole. As for On the Corner, it's long since become apparent that it either hooks you in from the first listen or it doesn't. It did me, although it was a total mystery why. After a few years, I got to hear it played loudly and clearly on a really good stereo system, and the fog began to lift. Now that it's been increasingly familiar and presented increasingly more cleanly (I don't think it can ever - or should ever - be made truly "clean"). I've been able to dissect, not just the elements, but the constructions that went into it. I think it's a landmark of both music and record-making, and in many ways (arguably) the most deeply personal music/record Miles ever made. But hey, it got me from jump, and I can certainly understand why it might not do that for everybody. But either way, yeah, fuck Bill Cole.

Hey, Tony Hakim knows people.

Only that's not "the rest of the Quintet"... LOC cites Meeker citing this as being part of a film of the 1966 Molde festival: https://www.loc.gov/item/jots.200020855 Nothing about Wayne being at Molde in 1967: https://www.loc.gov/item/jots.200020871 Today, the festival runs mid-late July: https://www.loc.gov/item/jots.200020871 Anybody know if it's always been like that? The festival's own site cites 1966: http://jazzarkiv.moldejazz.no/list_artist.php

If that Terry Gibbs-Sal Nestico is the Time record, carpe diem. That thing swings like a MOFO!!!! Note - Nat Pierce on B-3 all the way.

I ordered the damn thing, should be here today. Not expecting much, but, like others, read about the band in Swing To Bop, which I recently pulled off the shelves to do a little freshening up on Boyd Raeburn's band. While scouring for Raeburn airshots, this thing popped up, and, well, destiny, right? Powerless against fate, we are. $15.00 is a reasonable enough price for a privately issued CD published in 1977. I'd be shocked if there's too much more than 30 minutes of music on it, but oh well. And it IS "jazz history". Just keep in mind that historical value and musical value are readings off two different scales weighing two different quantities.

1966: https://www.loc.gov/item/jots.200020855 Interesting to hear this relative to the Plugged Nickel solo...and rhythm section.

https://www.amazon.com/o/ASIN/B000VM0AJI%3FSubscriptionId=10AACKCBJJVMKW96CJG2/002-1521296-2975213

J.J. Kelson = Jackie Kelso

But Sheryl Crow is smart/savvy. What has she herself kept hold of? Are the lawsuits being filed on behalf of The Great American Musical Heritage or on behalf of specific artists/estates? Not saying that any of this exonerates Universal in any way, just wondering how/if it goes to figuring a specific damage claim within the definitions of the legal system..

I'm expecting to at some point get queasy about an argument developing about what it means to archive "properly", and then we get into a argument about what the purpose of an archive is, is it to keep material available in usable form, or is it to preserve everything in its most original form, is it to be a library or a museum? And then, whose property is it anyway, and then...the whole thing gets ugly, especially when in cases like Bryan Adams, it appears that the artists themselves have a better source than the label, and then what, does the label then seek to take that property back from the artist, and if not, what kinds of doors does that open? There's j lot of wobbliness going on in all this, it seems. Wobblewobblewobble. Interesting times...

Well, ok, what does the contract read in that regard? Exactly what is the verbiage?

Some badass/kickass Boyd Raeburn band, streamed here: https://pastdaily.com/2016/07/31/boyd-raeburn-club-morocco-l-1945/

I did enjoy the Tingen book for dealing with that music as music, for looking at what WAS going on instead of what WASN'T. He wasn't the first to deal with it from a reality-based perspective, but he certainly wrote a good book about it. The only groan I had was that he also included some Sri Chowhoundy type of MacroCosmicUnity about the philosophy of it all, and a little bit went a long way, especially since I do not share the same concept of how much is a little bit. But thankfully, that stuff was segregated away from the musical part.

I bought the Ken Vail Bird's Diary, and...it's more fun to think about reading than it was actually reading it.

And don't be surprised if they counter with some variant of, of we got it somewhere, hell, YOU probably got it somewhere, and read the contract again, whose property is it, really?

I'm just wondering what counter will made to the "hey, we're sorry we fucked this up, but the bottom line is that it's our property that was lost, and the nature of what was lost still leaves plenty of ways for us to sell your product going forth, so....what's the basis of your claim again?".

The real WOW factor for the Chambers books the first time around was that it listed all the bootlegs. That was a bigger deal then than it is now.

Swed & Carr are good for data. Chambers writes a good "fan book", the only problem being is that the music loses him around 1968 or so, and the writing follows suit. In it's time it was indispensable (at least Vol 1 ws), but today....eh.... Whatever your poison, supplement it with these two: But hell, ead the autobiography anyway. It gets the desired results: https://www.thedailybeast.com/miles-davis-penned-popular-musics-best-autobiography

yeah, they can try that. And then UMG show their data about how nobody buys that shit anymore, been trending downward and continues to trend downward, you wanna settle for $29.95, draw up the papers right now. Otherwise, we still have all we need to sell your shit going forth, especially for the skullograph, so how much are you losing again, pony boy?