JSngry

Because if they sell out of stream you're SOL? Not being anything but the most casual streamer, I don't see what they're offering here?

Here's another good one that is off too may radars: The leader has made a series of solid dates with varied and interesting personnel. But this one is tops, imo.

Seconded! Masters also did an album of/with grachan Moncur III that is more than a little worthy.

I think there was not small bit of tongue-in-cheek with the Kay Kyser picture and caption. There's a lot of that on that site, actually. "Academic" he may be, but humorless he definitely is not!

Wasn't it Kay Kyser that did "Three Little Fishes"?

I've heard that Candy solo in so many clubs, with so many dancers...if you played on a Cameo record back in those days, your audience was guaranteed. And huge. I don't know how many people knew that it was Michael Brecker playing it, but I can't tell you how many times I hear people say hey, you play sax? can you play like that guy on that Cameo record? And shit...on any given Saturday, you would find MASSES of people jamming to that record. I've had nights where I'd play it with the band, and then the DJ would play it again on the break. I mean, Cameo in general should not be overlooked, that was a great band that made KILLER records for a good long time. But if it's a race to "most heard Brecker solo" between the JT side and this one...I don't know if I'd bet one way or the other. Cameo, y'all, CAMEO!

Well yeah, the difference is driving the split business models. Different people have different ideas about what this music "is", not just in terms of music, but in terms of product. Just think about this - unless you stumble across a neighbor practicing, if you hear ANY music anywhere, you're almost certainly hearing it because somebody put it there. club, hall, record, radio, download, streaming, anything. Somebody saw to it that that product got made and placed. And sure, yeah, everybody wants to make money, to get paid. That's not the point either. There are wildly and widely different models in place today and of course they vary to meet the markets (real or potential) that go with the musics. Who is doing what to get their product to who, how are they doing it, and why are they doing it as they are. That's the whole point of the point. That, and if the tail of the commerce is wagging the dog of the music (and if the dog has by now become all tail...that's one fucked up dog!) So if you want to consider that, then this guy is giving you his considerations (focused on, it seems, the JALC model, of which he is not a fan, I would guess) for your consideration. And if you don't want to consider that, just walk away from the discussion, because it's not something you want to consider, and won't be. Finally a true binary choice!

Not talking about music, talking about business. Where the money comes from to generate the places and ways that these musics get heard. Newport used to be able to book New Orleans bands & Gospel & Benny Carter & Miles & Cecil Taylor & damn near anything else. You could have a lot of feeders into one overall business model. There was a point at which they could all do business together. And they did. Today, not so much, if at all. It's going to be interesting to see what the business model(s) look like, say, 50 years from now, when all the "last remnants" of anything from the old models are dead. That's what the JALC model has been good at, creating interchangeable placeholders, they got that shit going on really good now. They've got their system and they've sold it to their public. It's what any business wants to do, create a stable product that can be sold into, possibly, perpetuity! Now, when Braxton or Roscoe or Wadida goes (let's go out 25 years for them), or Halverson or Sorey (let's go out, say, 75 years, they'll be dead by then, certainly), or anybody in that world dies...having interchangeable placeholders ready to step in is sorta NOT the aim of that business model (at this time, anyway). But people like Roscoe & Braxton have shown they'll get people to work with them who can carry on their ideas, and add their own thing along the way. And if they're so inclined, they can grow a market of their own as they do. Craig Taborn been doing this for a while, starting to get leader profile, finally. But those worlds are not doing any real business with JALC. I'm sure there's a gig here and there somewhere for somebody, but that is not where they get their main business support. Now, do the worlds reunite at some point, or is the deed done, the musical/business mitosis? I'll likely not be alive to see how it plays out, but my guess is that they don't, unless and until the corporates at JALC decide it's time to move in and feed on this other stuff. If the "Big Ears world" continues to grow...they'll smell that money and proceed accordingly.

I got a Japanese reissue of The Believer a few years ago. Watch for it to come around again at some point and carpe diem. Here's another two "must-haves" to get: There's some more "deep catalog" items to get, more than you might think.

I hear that, but still trends emerge, whether guided or not (I think you gotta look at that on a case-by-case basis), and once a trend emerges, you can be 1000% certain there will be forces who make every effort to co-opt, guide, and eventually own whatever they can out of those trends. And I don't think that's a uniquely "capitalistic" behavior either, it's an essentially hard-wired human behavior, we will always have those whose goal it is to in some form or fashion "own" the rest of us. As much trouble as you can get into by over-generalizing about it, you can get into at least that much more trouble by not recognizing it as it occurs.

Hardly, it's Elizabeth Warren!

This is a hoot! http://tomsmithjazz.wixsite.com/music/single-post/2018/04/01/THE-TRUE-STORY-OF-WHY-JAZZ-MUSICIANS-HATE-KENNY-G-AND-THE-REAL-ORIGINS-OF-SMOOTH-JAZZ?fbclid=IwAR3mPZv_u03MESMXm1DRpwKgrnNm4Ph_SS_Dtk86oECZIOZQApVuKMqc_iU I am entertained by this!

My LD set was exactly as advertised, and packed/shipped to expectations. Damn good deal! Buy with confidence!

The music itself, not so much. But the business, especially as it exists today? Absolutely. And me, mr. non-academic, this is the first time I've heard "corporate totalitarianism" as a thing, but sure, yeah, absolutely. It's on a roll!

Ok, read this: http://tomsmithjazz.wixsite.com/music/single-post/2019/04/07/A-POSTMODERN-RADICALIZATION?fbclid=IwAR3mPZv_u03MESMXm1DRpwKgrnNm4Ph_SS_Dtk86oECZIOZQApVuKMqc_iU Hello!

I'd be negligent if I didn't point out that Brecker's most famous "pop" solo might well be this one. Depends on whose pop we're talking about. Don't be like UTube Jazz Kids and just know about the first solo.

Mr. Lucky, and Peter Gunn. Both on Amazon Prime. First time really watching either, they're fun.

That sounds more than a little right to me...literally and otherwise.

cf

And there we pretty much have the dichotomy/severance/whatever between the current Jazzworlds - there's the JALC Jazzworld, and then there's the, for lack of a better term, Big Ears Jazzworld (which may only sometimes consider itself "jazz", and vice-versa). I'm sure there has been and will be a LITTLE bit of overlap, but not much. And to imagine there being more is going to take some pretty radical ideological shifts that show no signs of occurring anytime soon. I could be wrong, though!

And probably, this should be looked at as history above all, because whatever happened in that Jazzworld is not reversible. And god only knows where the new Jazzword that has severed connections with that old one is going to land. Or if it's even going to be a Jazzworld at all.

Worth noting that not only does he reference - on the blog anyway - social theories and theorists, but also names names of those who are actually engaging in the process, real time people and real time events. He neatly points out Stanley Crouch's schizophrenic identity gambits and points out where all that's coming from, specifically. It's real stuff not too-commonly covered past the superficial (if at that), in spite of the jargon. If it's the jargon that loses him readers, that's too bad for everybody. But you know, we all make choices....

The guy's got plenty of real-world experience (check out his credentials, they're not at all wholly "ivy-tower"), so I accept his mode of expression as a conscious choice. Not the choice I would make, for sure, but that's ok. It wouldn't be ok if I didn't sense the value of what was being said, though. And mileages are going to vary on that. And any guy that can give fully articulated props to Benny Morton is ok by me. The need for being multi-lingual (or multi-modal, I suppose...yuck) within English itself is a need that is only going to grow as we go. We are being separated by our own language in this culture. And to the man's point, ironically enough (or perhaps not!), it's a separation that is being exploited for all it's worth by all who have something to gain. I'm not going to be getting the book, because like I said - I wouldn't know what to do with it. But what he's saying is worth of a lot of consideration, I think, if you have the willingness to read past the jargon.

Somewhere on that blog (I dug deeper than the promo blurb), there's a thing about Wynton turning into Colonel Sanders that is priceless. There's also a reference to Adorno, which is always a hard stop for me, always, but I can't say that the author is particularly wrong about anything. He just states in in ways that are too...."academic" for my liking. Besides - I am more than happy to engage with Pop Culture on its own terms, but...eyes wide open about that. Knowing what is driving the market that creates the environment that supports it is one thing, liking the music itself is a different thing. I have room for both. I guess my question is - I already know this stuff, so now what? I think I've already decided that too. Eyes and ears wide open every step of the way. The guy's no dummy, though. I would think his should be considered apart from their trappings. Like I said, he ain't particularly wrong about anything.