Niko

those are percentages i believe - you need to know how the column on the right continues to say what sales of jazz cds did (but assuming that overall sales went down this mean that the drop in jazz cds is in fact even more drastic than from 2.6 * X to 1.1*X) (it's from 2.6 * X to 1.1 * Y where X and Y are the total sales in 2007 and 2008... for X=Y this gives a drop by over 60%, for X>Y it's worse than that) agree that categorizing might be a problem (like whether you count norah jones as pop or jazz...)

judging from the line-up it could be pretty good... who produced the cd? (rough guess: someone who downloaded it and has a nice printer?) Date: 1976 Location: Northern Illinois University, DeKalb, IL Label: [private recording] Woody Shaw (ldr), Joe Henderson (ts), Woody Shaw (t, fh), Slide Hampton (tb), Ronnie Mathews (p), Ron McClure (b), Louis Hayes (d) a. 01 Blue Bossa (Kenny Dorham) b. 02 Invitation (Bronislau Kaper, Paul Francis Webster) c. 03 Jean Marie (Ronnie Mathews) d. 04 Old Folks (Willard Robison, Dedette Hill) e. 05 'Round Midnight (Thelonious Monk, Cootie Williams, Bernie Hanighen) Joe Henderson (ts) on a-b, e; Woody Shaw (t) on a-b, e; (fh) on c; Slide Hampton (tb) on a-b, d. Spoken introduction by Ron Modell precedes a. Spoken introductions by Woody Shaw precede other selections. Shaw plays only on the ending of 'Round Midnight. This recording of two sets is probably incomplete.

police records are the major source of pierre briancon's san quentin jazz band book - and since that book is based on relatively easily available sources (say, three interviews, 15 books, google and the prison newspaper) otherwise it can't be that hard to get them (though maybe you have to be a journalist?) the stories drawn from these records are usually pretty depressing, a bit confusing and a bit boring (say, released from prison, stopped by the police for driving too fast 10 days later (alternatively for stealing a piece of meat at the super market or for buglary), not showing up at the driving trial, thus searched by the police and caught with a bunch of illegal substances and back to prison... that's what the stories of nathaniel meeks or dupree bolton as constructed from their criminal records look like... not much music in there...

http://en.wikipedia.org/wiki/Concert_etiquette Maybe over here in Europe (or is this a German phenomenon??) "classical music etiquette" really has such a firm stranglehold on expected audience behavior, but is this something that just GOT to be so? must admit i haven't been to many concerts, stadtgarten in cologne (where i heard most of the bigger names i have heard) has two settings, sometimes they remove chairs and get a good atomsphere... but they rather do that for, say, victor bailey, than for don byron or dewey redman (and those concerts severly suffered, imho...), from those concerts i knew what you meant, the subway in cologne was a little bit better but not significantly so... it's gone and i wasn't surprised, didn't feel welcome at all, maybe also an age thing) we had a great jazz club here in bonn for two years, mostly with younger local artists and a young audience and this always had a great, relaxed atmosphere... the loft in cologne also has a somewhat serious air but this is offset a good deal by a very family like atmosphere (notably because the audience is rarely more than 25 people) moers festival is much different, on the outside you have like 25000 people living in tents, smoking stuff, not caring much about jazz (most of them) - and while this does feel a bit odd it relaxes the atomsphere in the concert tent quite a bit... can't see any more hippies for a week or so afterwards though have to agree with bev - i don't blame the musicians for not being willing to do a "show" but i do wish they'd feel different (just, if i think how often i tell my students about the importance of "doing a good show" - and they're about to become mathematicians ... i can't really belive this is not an issue for so many jazz musicians, after all they're still standing on stages giving concerts at this point in the development of their art form... looking at them you get the feeling they think it's something of a transitional period and some day (with the next bird) it will be established that they can just play for themselves in their appartments)

wikipedia sums this up nicely: http://en.wikipedia.org/wiki/Concert_etiquette another thing that article reminded me of is that in the 19th century it was still appropriate to applaude between movements of symphonies (and what i hate the most at classical concerts are those people who can talk for minutes about the idiots who clapped hands between movements...)

what i found disturbing was a trumpeter (sideman in a pianist's quartet) going to the front of the stage during the piano solo, looking carefully through the audience for like five minutes (looked pretty strange because he didn't try to be discrete and obviously had bad eyesight...) he should better have left the stage... (but, of course, from elsewhere he couldn't see people's faces as well) no problem with stage leavers here...

happy birthday

also a teacher for sonny simmons and eric dolphy... http://www.andyhamilton.org.uk/andy_pdfs/Sonny_Simmons.pdf (and he's credited to play on some of dolphy's douglas sessions, of course)

apparently, cozy cole also opted for bullock as the mystery clarinet player http://www.ellington.se/Bubber%20Miley%20d...i%20orginal.rtf and here it says that morton is reported to have said the clarinet player's name was eddie (and that it cannot be eddie barefield who was out of town) which also suggests ernie bullock... http://www.gramophone.net/Issue/Page/Janua...1967/102/861034

thanks! actually i learned something espceially from your middle paragraph... that said, i mostly found it odd and quoted it because wikipedia read like it was written in 1953 in that passage (there's so much in wikipedia where you can see people's good intentions but just want to jump in... one day i'll sign up but not yet...)

looking for that story that up to some point foreign authors were under no protection in the us at all (funny considering the fuss americans are making nowadays with their copyright) i stumbled across this... (all i dimly remember is that dickens suffered from this... never any money from us readers for him...)... i stumbled across this... if you ever wanted to see what justice looks like... http://www.copyright.cornell.edu/resources/publicdomain.cfm

It helps to live in a decent-sized town, but I've found that going online to check what the public library has and then reserving discs can trick the brain into thinking it's bought something. what also helps is writing a few lines about an album after listening online (substitute liner notes so to say)... keeps me from buying to some extent (though i've written a pretty stupid book in the last few months...)

had some years where i hardly listened to music at all and bought just five or six cds a year (21 to 24 or so) but at present there's still so much to discover i can hardly imagine it will ever end because i've heard it all (rather because i lose interest...) i feel my listening is still far from reaching any type of equilibrium (at only 28 but after having heard much more music than other people in their entire lifes ) not only the styles of jazz that interest me change every few months with little interests that really remain constant for more than a year... it's also my listening, like at the moment i rediscover the joys of listening to the same music again and again - something i had pretty much lost in the last few years... my buying has luckily gone back a bit due to deezer and the other free listening services (an idea i like much better than downloads) but this has allowed me to listen to music i had never heard for almost every day this year - and there's still so much i'd like to have time for but didn't get around to so far...

played that monk disc five or six times this week, much more "guitaristic" than i'd have expected from bernstein, haven't heard the broom one... but this here is great, trio with doug weiss on bass and bill stewart on drums... ( http://www-v3.deezer.com/de/#music/result/...ernstein%20monk )

Somebody told me that the remains of Willie Dixon were also among the victims here (i guess that's how you'd put it...). Can anybody confirm or deny? can't find anything except that emmett till is not among them, not who is (what a list of names on that cemetery... kokomo arnold, sonny cohn, willie dixon, otis spann, dinah washington...) i mean, if they really tried to resell graves without anybody noticing (that's what they did, right, lots of new vocabulary for me in those articles...) then i guess the grave of willie dixon would be one of the last i'd touch... http://www.deadbluesguys.com/dbgtour/dixon_willie.htm

guess that's mostly a concern to those who still live up there... but you're right i'm not yet through with all this...

did you buy a plot at the cemetery already? here, graves will be emptied and re-used after a certain amount of time has passed (10 or 15 or 20 years, I don't know... you can pay to prolong it for some more years). would be quite crowded with cemeteries if all mankind still inhabited their own grave no, not yet (though i did tell my girlfriend that i want to go here if possible and if it's reasonably convenient for her... http://www.melatenfriedhof.de/html/meta/index.html )

wouldn't want to miss "my" graves... always thought of that whole procedure as the last service the dead person did for those who were left... (and not as something the dead person does "for his or her own pleasure")

here's more... (more than ever, actually as far as i can see) http://www.oac.cdlib.org/search?style=oac4...al;group=Items; edit: sorry a good deal is not available online - strange since the wiggins and the farmer can be found online, actually...

i like to call the thing that's missing BEBOP CHARM ... which was already lost in a lot of blue note hard bop, came back partially with ornette coleman... somehow i just don't hear the beauty of, say, early fifties al haig in the music of john scofield and joshua redman... that said, i do listen to and enjoy lots of jazz which is entertaining or doesn't have a lot of bebop charm in it... and i have checked out some recent stuff lately and liked it a lot...

!!happy birthday!!

similarly i was surprised to see that the joe thomas atlantic session was actually herbie nichols last recording date, not something he recorded before he did what he's... famous for...

lots of discussion of that sale in the last pages of this thread http://www.organissimo.org/forum/index.php...c=39290&hl= (though i'm not sure your specific questions are answered)

just playing that one (peter bernstein - monk, on the reformed xanadu, listening on deezer), beginning to really like guitar trios with bass and drums.... nice!

does anyone understand this sentence from the german wikipedia and can translate it for me? (mainly, what is "black quality"?) "Webb war ein Präzisionsfanatiker, weshalb er, nach anfänglichen Headarrangements, andere Bands in perfekt intonierter Satzarbeit mit schwarzer Qualität übertraf, z. B. Goodmans Band."