relyles

Does anyone know for certain whether the new SFJazz disc contains tracks from the 3 disc set? I already have the 3 disc set and would not want to purchase something that duplicates what I already have. On the other hand, if there are not duplicates I want the new disc.

Last year I received in a trade from an Austrian trader copies of broadcasts of a 7/1/68 Kleinschuster performance with Jordan, and a 2/1/69 performance with Charles Tolliver. The music on both is very good. The official releases should be worth aquiring.

Yes.

My appreciation for the disc increased with subsequent listens.

I have a copy of that with the date listed as Nov. 1, although I have also seen it listed as Oct. 30. My copy also supposedly comes from a radio broadcast.

I have and enjoyed it a lot. Others may disagree, but I found it informative. Nice discussion of Andrew Hill, which is the only one that I am aware of in a book.

I have several other unissued Lancaster sessions from relatively the same time period (78-79) in which Keno Speller is the percussionist.

This is all the information I have for that particular session: Lancaster, Byard 09/01/77 WXPN-FM, Philadelphia, PA FM Byard Lancaster (reeds), Bill Lewis (vib), Yusef Yancey (tp) a.o.

I was exhausted and did not have the energy to drive down. I was very disappointed.

Uh-oh ... more titles going down on "the list." $ Don't worry. That one is OOP and somewhat difficult to locate. Since hearing it I have been looking for it with no luck myself.

Burrell's Windward Passages on hat art is one of favorite solo piano recordings. I had heard a lot of Burrell as a sideman (primarily with David Murray), but I did not really connect until I heard his solo work. On the hat art release I love the way he incorporates various styles of piano playing into a coherent whole. A must hear IMO.

I received an email this morning from the seller stating that the item was unavailable. The seller then promptly refunded my paypal account (upon request) for the payment I sent. So although this particular purchase did not work out, the seller's conduct seemed to be above board.

Guy, Right now I am planning to take the ride down on Tuesday. Too bad we are not planning to go down the same day. I could use the company.

If the performance is good, I don't have a preference whether it is a studio or live recording.

It was actually Nirvana: Howdy again, folks. The fax just came in a couple of minutes ago. The offender was torrent # 30630, NIRVANA 08/30/1992 Reading Festival Complete PRO Shot DVD. In particular the title "Smells like Teen Spirit", rightowner: Universal, claimed through Universal Music GmbH, Germany, and pro MediaGmbH (exclusive partner of IFPI in Germany).

Those are some interesting comments. I have read similar comments by other musicians before. In particular, Ellery Eskelin has on several occassions articulated his preference that recordings of his live performances not circulate for much the same reasons that you stated. I could not locate the exact comments I was thinking of, but following are some interesting comments by Ellery in a similar thread on Jazz Corner over one year ago: "But one must take into account the effect that the poor sound quality has on the music itself. There's so much of the sound that simply isn't even there. It paints a very distorted picture of the music and in my opinion a lot of improvised music suffers immensely if the textures of the sound itself are compromised to that degree. Most of the time my own music doesn't even make sense to me when I hear it back recorded that poorly (which is 98% of the time). I can't imagine what someone else would think. If this were someone's introduction to my music I certainly wouldn't expect them to go any further in seeking out one of my CDs. So I don't feel that having these kinds of recordings floating around really does me any favors. . . . As for radio broadcasts of performances it's a gamble...on the one hand you're getting some extra money from the radio to let them record and broadcast your gig...on the other hand I'd say of all the radio broadcasts if been a part of (and I'm guessing there've been dozens) there's maybe 3 that I know of that I think sound good. Not great, but good. Actually there was one that sounded better than good and that was the Baron Down gig from the Willisau festival some years back. There was talk of releasing it and I actually hope that happens one day. But so many of the radio gigs are less than great sounding since the engineers don't always know your music and there is rarely sufficient time to do a proper sound-check. There's always some amount of compromise involved...as the clock ticks and start time looms and you realize that's about as good as it's going to get if you want to actually eat before the concert. Ironically one of the better sounding radio gigs we did was one in which we arrived at the festival about 30 minutes before show time. Keep in mind that we need one or two hours just to do a regular setup and sound check. So we threw the equipment up on stage and the engineer put up some mics and that was it. We had no idea what it was going to sound like. But the engineer was special...his name is Dick Lucas and he records a lot of the Dutch cats. He did better in 30 minutes than most others do in a whole afternoon. I was shocked. So I take my chances and hope that the recordings are going to be OK. There's little I can do about them being diseminated and as I agreed to have them be recorded in the first place I can't get too upset about it. There are many that I think sound terrible but thems the breaks. As for boots as keepsakes I try to offer a deal on CD sales at the gigs so that people who've already paid to get in can take something home with them rather than boot the show."

Oh--do you mean this group?

I am sensing this may be a reason why sites like sharing the groove and easytree may have come under attack while on the other hand snail mail trading sites like the yahoo all jazz group has been able to operate for about two and a half years unimpeded. I have a recollection back on STG of an artist ( I think it was John Scofield), who did not mind people taping and trading his performances, but he did not want this same recordings shared electronically over the internet. I suppose the potential negative impact to the artist (assuming there really is one) increases when the music is distributed to an unlimited number of people in a short amount of time via a device like bit torrent as opposed to how long it would take for the same number of people to obtain a copy of that recording via one on one trading.

Yep, I got a few of those. I have not listened to them in a while. Maybe its time to pull them out again. I also have recordings by Victor Lewis and/or Larry Willis on Audioquest that I believe feature Stubblefield that deserve to be heard again. Then of course there are the Kenny Barron and Mingus Big Band recordings ... and a few radio broadcasts. I suppose I have more Stubblefield around than I remembered.

Very disappointing. The pile of shows that I was planning to seed was growing. Oh well, suppose I will just have to vine them at the yahoo jazz vines group.

The following is taken from Melford's website: "Melford's ongoing search for new sounds and new directions in her music led her to the harmonium, a small hand-pump organ traditionally used in Indian and Pakistani classical and devotional music. Melford was awarded a Fulbright scholarship to study North Indian music on the instrument with Sohanlal Sharma in Calcutta, where she was in residency from September 2000 through May 2001. The fruits of her studies are heard in some of her compositions for her groups The Tent and Be Bread." I have not heard her most recent recording, Where The Two World's Touch, which is by the group, the Tent, but according to the website she plays both piano and harmonium on the recording. Most of my exposure to Melford's harmonium playing has been on radio broadcasts of live performances of the Be Bread group. It's a sound I have yet to warm up to. Like JohnS suggested elsewhere, when she uses the harmonium to me the music does not have the same sense of swing that her piano trio and even quintet recordings had. I am still open minded and willing to try to appreciate the harmonium, but for now I much prefer her on piano, where she is a marvel.

I am generally a fan of her playing, but must be honest and say that I have yet to warm up to her use of the harmonium. In addition to her playing, I also think she is a verydistinctive composer.

Come to think of it, I never did get any sort of confirmation from sunmusic regarding my order, only paypal and every time I try to sign in to check the status of my order it says that I have an invalid email or password. Suspicious.

I own the first three CD set and would agree that it is definately worth hearing.

Probably a good point. The frame of reference is important. I believe I may have read a couple of reviews on AAJ and in one of the more mainstream magazines (DownBeat or Jazztimes). Those sources tend to be more conservative and would not necesarrily be as disappointed about a fire breather cooling off for a moment.