T.D.

These 2 are new on bandcamp, I'm listening now:

This. For instance, Carnegie Hall's Weill Recital Hall (in 2001) programmed a successful 3-day New York School program (When Morty Met John). https://www.nytimes.com/2001/02/13/arts/music-review-a-carnegie-connection-then-and-now.html I consider that blue chip, and it was definitely well hyped. But there's no effin' way that venue would do anything similar for more difficult/left-field work.

Some prior discussion at http://www.organissimo.org/forum/index.php?/topic/87639-mal-waldron/&page=3

When I lived in the NYC area I attended many classical music events: opera, orchestral, chamber, "modern". My experience was that "modern" classical music, especially of the non-tonal (the dreaded "atonal") variety, drew very poorly in large venues. The subscription audiences violently disliked it, and the best programmers could do was to insert a token "modern" piece into an otherwise standard repertory program. There were some success stories in smaller venues. For instance, Miller Theatre at Columbia did (and probably still does) extremely well with attractively curated hard-core contemporary programs. But that's about 200-300 patrons, depending on whether the balcony is open (which it seldom was in my experience). When Miller impresario George Steele got hired by the now-defunct NY City Opera, a fiasco ensued. Granted the NYCO's trajectory of failure was in its terminal stage when Steele signed on. Smaller Carnegie Hall venues (Zankel and Weill) can do OK with modern music, I recall an excellent George Crumb 75th birthday program at Zankel, for instance. [Added] Brooklyn Academy of Music successfully programs modern music in a good-sized venue, though I find a lot of their stuff fits into a fairly predictable "hipster" mold. I went to many excellent contemporary concerts where the audience was pathetically small, on the order of two to three dozen people, many of those unpaid. And that's in the Big Apple. Jim and clifford made some good points above.

From "da bastards", including some preorders:

I'm more familiar with classical publications than jazz, and don't pay much attention to print reviews any more (rely more on discussion forums and selected blogs). But I've always suspected a bias / "conflict of interest" in publications reviewing releases on labels for whom they run advertising. For instance the classicstoday web page. Would they trash recordings from big advertisers like Naxos and Hyperion? I seriously doubt it. Don't know whether this is an issue with jazz publications, but it could contribute to the "only review recordings you like" syndrome.

Agreed. The last musical/audio thing this hilarious was the "Joyce Hatto hoax" in classical recordings. A delightfully ironic aspect is that the non-analog nature was not discovered by audiophiles' discerning ears, but by deduction (duh, if the records are being pressed this way, the source can't be analog).

I'll put in a word for the 2-CD (I don't buy vinyl, don't know if it was released in that format) Tapscott / Arkestra Live at I.U.C.C. on the souljazzrecords label.

Many events stay up on Youtube. How about:

Just checked it out via inter-library loan (I belong to a good network). Should get it next week.

for Gnu High. As leader, I still have 3 of Jarrett's old Euro Quartet albums: Belonging, My Song and Personal Mountains. Don't listen that often, but they've have survived many culls. Once had both Köln Concert and La Scala, enjoyed them at first but it faded, eventually culled. Considered some Standards Trio albums but never spent the money. The Lou Harrison looks interesting. I'd also like to hear Jarrett's recording of the Hovhaness Piano Concerto. Never bought his recordings of "standard" classical repertoire (Bach, DSCH, Handel, Mozart) because there are so many good competing versions. Back on topic, my collection of Paul Bley recordings is slowly growing, while the Jarrett collection is static.

Thanks, it was an excellent BFT but I only had time for cursory listens. I always suspect Khan Jamal on vibes tracks, but never heard that particular album and drew a blank on #1. Kind of red-faced on #2 and (especially) #6, as I own both albums and am an Elmo Hope enthusiast. I suspected Friesen on the bass solo but never got around to pulling the CD off the shelf. Guessed Mal by process of elimination on #11, but had never heard that version. Will go back and listen in detail.

I like EH a lot. Enough that this thread made me pore through discographies to check what recordings I'm missing.

Stumbled upon this and have watched several times. Seems like excellent playing to me, though there's no shortage of alternatives. Am going to listen to more of Ehnes.

DG's offerings are sporadic, but I've found their prices pretty darned good. Now that DG allows preorders, I'm going to take them more seriously. Waiting for "in-stock" e-mails was not very reliable - product would often be sold out.

https://www.bbc.com/travel/article/20220721-the-worlds-largest-crystal-cave An abandoned mine in Spain hides a sparkling treasure – the world's largest geode, a natural crystal phenomenon that has stunned scientists. https://www.bbc.com/news/world-asia-62292511 Japanese police are turning to tranquiliser guns in an attempt to stem the tide of wild monkey attacks that have been terrorising residents.

Absolutely. Stopped around 20 years ago. I still remember one of their big columnists (Jonathan something?) constantly singing the praises of "Shun Mook resonators". Thought I'd slipped through a wormhole to some kind of alternate universe.

Looks like they (and most similar outlets) use digital direct-to-garment ("DTG") printing. Send 'em an image file and ask. If they don't care about licensing (as suggested above), they might put it on any color shirt they stock.

That Aussie outfit has the best selection of jazz album T-shirts I've seen. Trouble is, I'm a former distance runner, kept all my old race T-shirts and haven't gained significant weight. Have burned through quite a few, but still have a large stockpile of wearable Ts, tough to justify significant $ for more. The Aussies do have a bunch of tempting offerings, though.

Richly deserved IMO. And a lot of it's dirty kleptocrat money he acquired by making F1 one of the world headquarters of sportswashing (granted the IOC, FIFA, etc. are right up there).

You can get around it by erasing your whole browser cache, including cookies, but that can be inconvenient. I use a "burner" browser (Edge) that I open only to access sites with limited stories/month access; I erase the Edge cache frequently. I was able to read the story that way (in Chrome I'm paywalled).

1. I believe so. 2. Some motorsport enthusiasts follow both F1 and Nascar. I never followed Nascar, so can't directly compare the demographics. I get the feeling the F1 fan base is rather more cosmopolitan, for want of a better word.

When I was a kid, the 1966 film Grand Prix w. James Garner was huge. I was heavily into F1 in the late '90s and very early oughts, used to drive up to the Montreal GP every year. Enjoyed the races, and Montreal is a nice place to visit. The bewildering annual technical rule changes gradually turned me off. Plus, there aren't many competitive teams; the same few win all the races every year. Not to bring politics into it (mods delete if desired), but a couple more turn-offs for me: 1) Bernie Ecclestone and Max Mosley, who ran F1 like a fiefdom when I was heavily interested, turned out to be seriously sleazy characters. 2) As far as I can tell, F1 is the world headquarters of "sportswashing". Just run through all the exotic and far-away race venues.

Passing on Hubbard. Will definitely purchase the Bill Barron in the (exceedingly unlikely ) event it's released.