relyles

Almost forgot ... Magnus Broo - Sudden Joy

A few that came to mind while reading the thread, focusing on trumpet-piano-bass-drums: Anders Bergcrantz - C Ted Curson - Ted Curson & Company Art Farmer - Out of The Past Darrell Grant - Black Art Eddie Henderson - Flight of Mind Kirk Lightsey/Freddie Hubbard - Temptation Wynton Marsalis - J Mood (yes, I like this one!) Wynton Marsalis - Live At Blues Alley (I like this one too!) Misha Mengelberg w/ Dave Douglas - Four In One Woody Shaw - In My Own Sweet Way Wadada Leo Smith Golden Quartet - The Year of the Elephant Matt Wilson - Arts And Crafts

I think he may be based in Paris or somewhere else in Europe now. From what I have seen he has been fairly active the past couple of years in Europe.

He does not sing on it, but Mayfield wrote all the music for the soundtrack to "Sparkle", which features Aretha Franklin. A great spotlight for Mayfield songs and Franklin's voice.

That seems to be confirmed by the excerpts from the play list of a radio station I found on the internet and included in the first post.

I did see the above review also while looking for information. Kind of a confusing read, but favorable nonetheless.

I just heard that for the first time this past week and agree that it is very good. Makes obtaining any additional recordings that much more crucial.

I saw this on the playlist for a radio station. 4:10am Geri Allen; Buster Williams; Billy Hary; Andrew Cyrille: Aries; Taurus; Gemini; Cancer, Zodiac Suite: Revisited (Mary Lou Williams Foundation) ... 4:45am The Mary Lou Williams Collective; Geri Allen; Buster Williams; Billy Hart; Andrew Cyrille: Leo; Virgo; Libra; Scorpio, Zodiac Suite: Revisited (Mary Lou Williams Foundation) Does anyone know anything about this recording and where to purchase it from?

johnagrady you have taken this discussion to a place that I can not follow you.

Label Bleu Et voila!... ← Thanks, but I did not see anything about the upcoming Green release.

By the way Mr. Coleman, welcome to the board. I am a big fan of your music. Caught your performance earlier this year in Hartford, CT and had a great time. I think you also know my brother Darryl in Suitland, MD.

Thanks for the information. There is a lot of good music on Label Bleu and hopefully this will be no exception. Do you a link to a website with information?

I agree. But it seems to me that an artist should not passively rely on the activities of tapers and/or traders and the distribution of these recordings via one on one trades. An artist can maximize the effect by actively embracing the model. Instead of simply allowing taping and trading, maybe the artist can put 40 more people in the venue by actively encouraging the activity. It would be interesting to know whether artists like Greg Osby and Jeremy Pelt, who actually have live performances available as free MP3 downloads from their websites, have seen a real increase in support as a result. johnagrady - i don't think there is a problem with the terms used. I applaud you for your efforts to support the musicians you have supported as a result of taping and trading. I simply challenge the premise that your experience is representative of the majority of the trading community. I have seen it both ways, but I still think that the activity can be as much of a disincentive to attend performances and purchase recordings as it can be an incentive.

I have been thinking about the economic model and wondering whether it is necessarily as beneficial to the average jazz musician as has been argued. If I understand correctly, the fundamental assumption is that by allowing the taping and trading of live performances the artist’s income will increase as a result of increased exposure. The increase in income relies upon the increased exposure resulting in increased attendance at concerts and purchases of recordings. I can’t argue for or against the model, but I do wonder whether it can be proven that the assumptions are true. In my own experience collecting and trading I have found that for many people the activity itself is somewhat addictive. That is, many traders seem to trade for the sake of trading as opposed to using it as a method of continued examination of the music and development of a favored artist. As has been hinted, many traders get more of a rush from simply acquiring a bunch of recordings and adding them to their list as bait for additional trades as opposed to actually making the time for any critical listening of the music that piles up. I also know for a fact that there are many traders that do not purchase the recordings of the artists they trade and instead prefer to listen only to the live recordings. I have heard many times the purported justification for trading that traders actually provide financial support to the artists. Whenever it is stated it seems to almost always be stated as a near absolute. I can’t dispute it either way, but I do think the premise is subject to challenge. Even for those traders that do attempt to support the music by purchasing recordings and attending concerts, at some point is there a diminishing return? For example, if I have over 30 recordings of Andrew Hill performances and he only releases one recording every couple of years and/or performs in a venue close enough for me to hear him live only rarely, how much is Mr. Hill really benefiting from my obsessive desire to possess every note he has played that has been reduced to a medium for posterity? On the flip side, for those traders that do not actually record concerts themselves, at some point isn’t it possible that trading can be a disincentive to attending a live performance? We can’t ignore some artists’ concerns that someone new to their music will hear a recording that is not the ideal presentation of their artistry, either because the recording quality itself interferes with the listener’s ability to enjoy the music, or the performance itself was an off night for the musician. Is the listener going to be motivated to investigate further under these circumstances? Also, what about that trader who has acquired such an excessive number of live recordings that he or she does not think there is anything new to be heard by attending a live concert? What about those traders that live in areas where there are virtually no outlets for live jazz? If we assume most jazz artists make a living off live performances instead of recordings, how is my sharing copy of a terrific Charles Tolliver radio broadcast with one of my trading partners in Taiwan really going to benefit Mr. Tolliver? We should also consider the percentage of jazz fans that do actually tape, trade and/or trade. I suspect that at this time not a significant enough percentage of the jazz community has even embraced this additional form of collecting for it to have an appreciable affect on the economics. Again, I am not arguing for or against the model. I do believe that positive exposure is a good thing. I just wonder how significant of an impact this activity will have on the economic circumstances of the average jazz musician. I merely pose these questions as factors that should also be considered.

Another younger Swedish musician that I have enjoyed a lot is Fredrik Nordstrom. He has a couple of recordings on Moserobie and other labels that are well worth hearing - particularly the quintet with trumpeter Magnus Broo and a great vibes player whose name I can not remember right now. Back to the topic, I have a few Kulhammar discs lying around that I have not given a critical listen to yet. Once again Jim you have made me want to dig deep into some of the gems which are apparently already in my collection.

Doesn't Scofied have limitations? For example, if I remember correctly doesn't he limit his consent to the taping of his jam band group and not necessarily his acoustic jazz groups? Also, I think I also remember that he does not allow online or bittorrent distribution of any of his music. Assuming I am correct I do not think an artist with qualifications is the best example to use to prove your points.

Does it make a difference to anyone if instead we are talking about the circulation of copies recordings made of radio or television broadcasts? Presumably, at a minimum the artist consented to the performance being broadcasted initially. I also believe that any reasonable person would expect some people who hear or see the broadcast to record it for their own personal use. Does this alter the analysis or opinions at all?

I doubt that any time in the near future there will be a significant enough percentage of jazz artists embracing the recording and trading of their live performances that those that don't embrace the "wave" will be committing financial suicide. There are other ways that an artist can generate enough good will that fans will support the music. For example, Ellery Eskelin isvery uncomfortable with the idea of people recording his live shows. He knows it happens and that ultimately he probably will not be able to stop it, but he is far from embracing the practice as a form of positive marketing for him. In fact, he sees it exactly the opposite. He is one of those artists whose objection is not necessarily the immediate financial impact, but his preference to control how his music is presented and distributed and what is retained for posterity. In Mr. Eskelin's opinion (and I am sure others as well), a recording of a live performance where he has no control of the sound quality and/or he may not have been satisfied with the performance can actually have the opposite affect. Under these circumstances he thinks some potential fans can be discouraged from investigating his music further if the first thing they heard was a live performance that he had no intention of becoming a permanent record. Despite, his reluctance, I think Mr. Eskelin is very much respected and supported by the fans of the kind of music he plays. Somewhat long winded post and I hope my point did not get lost. I personally have a collection of well over 2500 unofficial live recordings. Despite my own personal obsession with trading, I have to believe your opening statement is somewhat of a stretch.

I agree. I read the book and it is without doubt one of the most well written, thought provoking collections of music criticism I have read.

Thanks again to everyone.

This is such a morbid and depressing thread.

Thank you everyone. My kids did not even remember. You make me feel loved.

Since I work right across the street from the Wadsworth I am definately going to make a big effort to make the last three concerts.

Here is an article about the man that recorded the concert: http://www.boston.com/ae/music/articles/20...8/wired?mode=PF

I used to own Duotones on cassette. It was purchased while I was in college, before I became a true jazz snob. At the time that album was "hot" and it was enough to make a few ladies on campus think I was deeper than I really was. After I heard A Love Supreme the cassette no longer had any relevance for me and I eventually either gave it away or simply trashed it.