relyles

Interesting opinion and I don't necessarily disagree, but often it seems to many many artists plan on the encore regardless of whether the audience is enthusiastically requesting one. You can usually tell when they get up leave the stage, but basically kind of linger close by and then come back on two minutes later and start another tune without any of that "what should we play" conversation amongst themselve. I get the sense there are some artists at there that would get hurt feelings if the audience does not request the. For me, they are not necessary at all.

Thanks for the recommendations thus far. I realized tonight that a few of the recordings are available on Rhapsody, which I subscribe to. Therefore, I will be able to audition some of them before making purchasing decisions.

Based on the Benny Powell concert I attended last night in Hartford's Bushnell Park, I would say that there is an audience, but like the rest of the jazz audience it may be ageing. Other than those that choose to actually play the music, I don't think the music is appealing to younger people overall, including the black community. I think another consideration is the style of jazz being played. A couple of weeks ago I attended the Vision Festival in NYC. For whatever reason the more avant garde music does seem to appeal to a younger audience as well as old heads, but I have personally observed less black non-musicians in the audience at these performances. I don't know the reasons for all this, but I would say at least when it comes to a younger audience, it was not much different in the late eightees when I was first starting to listen to the music I attended a lot of concerts and I often was one of the younger people in the audience and also one of few, if any blacks.

I realized that I shamefully have no Barry Harris recordings as a leader in my collection. What is the collective wisdom on his best recordings to start with?

I saw it and found it entertaining as apparently did most of the crowded theater that to my surprise started clapping at the end of the movie.

You really have no love for anything in CT, do you?

It would be great it they started a festival in Hartford in Honor of McLean.

Later I also ordered Myra Melford & Han Bennink - Eleven Ghosts. It is not included in the sale, but i believe Alan Lawrence only has a couple of copies left and then it will be OOP.

I ordered the following: Marc Copland / David Liebman - Lunar Ellery Eskelin -The Secret Museum Ellery Eskelin - Forms Jimmy Giuffre - Emphasis & Flight 1961 Richard Grossman - Even Your Ears Franz Koglmann - We Thought About Duke Mat Maneri - So What? Misha Mengelberg - The Root of the Problem

I have already received the email below regarding my initial order:

It is a difficult sale to pass on. The production quality on most hat releases alone makes me take a look. Add to that the fact that there are a lot of very creative musicians on the label and prices are typically much higher, this is a very good sale. Over the weekend I ordered two titles and all day I have been contemplating ordering a bunch more.

I recently listened to the Paris disc quite a bit for a review I wrote for Jazz Improv. IMO, it is nearly a must have for Mingus fans.

I picked this one up recently based on the recommendation of this thread. I listened to it quite a bit in the past week and have been enjoying it very much. Thanks for the recommendation.

New name to me. Any relation to Roscoe? No, but she is an excellent flute player and has a creative vision about her music.

This is the first Blythe recording I purchased and one I enjoyed. However, after collecting most of Blythe's recorded output as a leader, I would have to agree with those that have already stated that it is not his best.

I can appreciate that, but having suffered through water entering my basement, where the only thing of value that was damaged was a large portion of my music collection - I have a slightly different take. Of course in the end it does not matter because flood damage is excluded anyway.

I feel a little bit stupid. I transferred Rick Lopez' cassette of this performance to CDR and sent it to WKCR for the marathon. I made copies for Rick and the station and sent Rick back the cassettes. For some reason, I did not burn a copy for myself. I am sure I will regret that eventually.

The Candid discs are both recordings of live performances and both are easily recommended. I have heard Bartz live on several occassions and it has always been a riveting experience. There are actually quite a few Bartz bootlegs that circulate, including some with Sphere, McCoy Tyner and the Three Altos group with Sonny Fortune and Vincent Herring. You might also want to check out the recordings on Bartz' own OYO label, especially the first Live at the Jazz Standard disc, which documents a typical recent Bartz set.

Interesting comment considering Mehldau often goes out of his way to downplay any comparisons between him and Evans.

My bosses do not mind me sitting in my office with music playing, but I do not think this is the kind of environment that it would be okay for me to sit in my office with head phones on. Does not convey the "professional" image I am supposed to portray.

Some work places are not like that, though. My law firm isn't. It would be quite literally unbearable to have this group of people talking about my musical taste all the time. Trust me--no one would want to be the constant topic of ignorant conversation by a group of attorneys, paralegals and legal secretaries. There is something uniquely corrosive about legal people, something that sucks the soul out of you if you get too close. And I like most of these people! My wife has commented on the same thing, that law firm parties are like visiting a ring of hell. They can't help it. Glad I don't hang with lawyers. I worked in large law firms for a few years and for the past five years I have worked in house in a corporate law department. I have listened to music every day, all day. The only time I turn the music off in my office is when I am on the phone, or someone is in my office. I have gotten to be known as the attorney that listens to jazz all the time and occassionally I will get some weird comments, but I have also been able to turn a few people onto some music that I think they might not have checked out otherwise. So, it can go both ways. Of course it helps that I have my own office and unless you come in my office you really do not have to hear anything.

What is wrong with boys 2 men?

By the way, it is a terrific recording.

Happy birthday Larry!

I work for an insurance company and my homeowners' policy is through my company. I do not have flood coverage, but it was a nice idea. Thanks. I do have access to a VPI cleaning machine of my father's. I think he told me it may need something fixed, but I will assume the price to do that is likely less than the price of a new machine. Besides, I will also have to invest in some replacement jackets to keep everything in.