chris

As bad as "Time" redux is, the new version of "Money" is even worse. Maybe his stated reasons are all BS and it's about money and/or credit, but even if his motives are what he says they are, the result is horrific.

I've not seen any Laufey Tik Tok videos...or really any Tik Tok videos at all. Just listened to her on Spotify or Tidal. I don't really see how some of her tracks aren't jazz, but I lost interest in the classifications and gatekeeping battles a long time ago since they don't really matter. My initial post wasn't about classification, just the music, and I'm pretty sure I know how you feel about it

I unabashedly love Red Clay ... it is one of those albums that almost never misses when I recommend it to friends who don't listen to jazz but are interested. And I have to stand up for the live bonus "Red Clay" track!

Interestingly, the forum where I learned about her is a Discord group devoted---deeply devoted---to pop music of all sorts, so perhaps she is really making some headway. I'm all for it, especially if it brings more listeners to related jazz music and, ultimately, to the dark side 😆

Re jazz musicians and vocals…how do new jazz songs with vocals come to be, then, only as interpretations of other songs in other genres?

This artist came up in a VERY different space, but with the question what “real” jazz listeners thought of it. I figured, what better place to ask? Laufey: https://songwhip.com/laufey/bewitched-2

I recently learned of the 1975 PBS tribute concert for John Hammond (some of you were there, I gather) and, after watching a YouTube clip of Goodman and Benson, saw a comment that Benny asked George to play a couple of gigs with him, which he did, but when asked to be a permanent band member, Benson refused and Goodman threatened him in “You’ll never work in this town again” style. Curious if there’s truth to this and where it might have been written about? Also, was this concert released anywhere? I can only find a few clips and references to it existing in some library archives.

Both of these look great. Thank you!

A quick followup: I discovered that the Strong Songs podcast has focused on two songs, and I think the episodes are excellent at delving into some of the intricacies of the songs: Moanin' Stolen Moments I hope they do more!

Is there a resource (podcast, video series, streaming, DVD, whatever!) that focuses on teaching about individual songs based one or more performances? I'm thinking something that delves into the composition, history, aspects of the performance to look for, ideally even digging into individual parts of the performance, references to other sings, important riffs, all of it. If you are familiar with Strong Songs, Song Exploder, or Tape Notes, I'm hoping for something along those lines, but given the type of music particularly akin to Strong Songs. I have a limited knowledge of music theory, nor am I a musician, so things that focus on learning songs are less interesting.

Sadly, it doesn't look like it is! But the album with Ricky Ford is, so I might as well spring for that one

The situation on the mac is difficult (I vastly prefer it and don't know why I switched, but this is a weak area for the platform). There doesn't seem to be a decent Access-like (in terms of being a consumer product) option in general (this includes reviewing most of the suggestions on a Stack Exchange thread I started..Filemaker is a pseudo-SQL db, other options are very "proprietary" in their approach). That has left me with, for building my own, a bunch of MySQL based tools...which is fine, but I'm OK with leaving my developer/programming days behind in exchange for a few missing features. I just don't have it in me to build my own system right now (and if I did that, I'd need to do one for my fountain pen collecting...and then one that indexed and had photos for my origami book collection, etc). Ultimately, building something myself would certainly meet my needs for customization, but since I'm just one man I am evaluating products that already exist Beyond Category is interesting and I may go that way. Music Collector remains a decent product. Nothing is going to take the pain away from the cataloging, so who knows...maybe I'll just continue to let perfection remain the mortal enemy of the good! PS "Cataloging" is a common American-Englishism. I can't win...when I use British English terms (whether they really are or whether they just seem to most to be), I get accused of being pompous. So it goes. I highly recommend David Crystal's astounding book _The Stories of English_ if you think about such things at all, though I warn you that you'll likely come out of the experience a changed person when it comes to how you think about such linguistic divergence and evolution, including in the form of constructions "those damn kids and their texts and tweets" use. I know I did!

Great link, thanks. It was Csikszentmihalyi's book _Flow_ that I was thinking of and which is important to that book (based on the introduction). Csikszentmihalyi's book is actually fascinating and far easier to read than his name

Speaking of: what do you think of the Lateef/Von Freeman album. I'm keen to listen, but it's not cheap to procure...a good investment?

I would like to participate via ye olde downloade please.

Thanks for the link. I still don't understand Lateef's position. Or I should say, I don't agree with it. But I wonder: do other musicians talk of Autophysiopsychic music? Is this a theory that other musicians work with?

While I own a number of discs featuring Yusef Lateef, it was only after his passing that I read much about him. Is his idea of "Autophysiopsychic" music one that has gained traction among musicians? It's the first time I've heard of it. Based on my reading about it at <http://www.yuseflateef.com/read-yusef-lateefs-essays>, I'm not sure I completely understand it (for instance, the notion that saying a musician was really "cooking" being a statement that is "at best ... a way of saying that the musician and his music be given no aesthetic or intellectual admiration" doesn't work for me, generally), but it does make me wonder if Lateef if ever read anything about the psychological concept of "flow states," which might have alleviated some of the skepticism of descriptors like "cooking." Anyway, I was just curious about this idea!

I am wondering if any of you have recommendations for good software for cataloging my CD (and a few LPs) collection on a Mac? I am not a historian looking to capture and create discographies. My primary reason for the catalog, beyond just knowing what I have and browsing (which iTunes and other music playing software with library capabilities does fine), is to be able to find performers across discs/tracks. I once used Music Collector from collectorz.com -- it worked OK and I might go back to it -- but I want to weigh my options first!

I'm surprised at the proportion of ambivalence toward - dislike of Brubeck's music!

Rush, like Springsteen, is a bad I can never get into but I keep trying every few years. I do not get it; based on all the music I listen to of "that" variety, I should. But it leaves me cold. Springsteen's music leaves me cold; Rush is at least abstractly more interesting, but Geddy Lee's voice? ARGH. It's a shame about Deep Purple.

After many years, I have returned. A BFT seems like a good way to jump in. So if it's not too late, I'd love to download!

No-- I think some are saying that Jimmy Buffet is too black though...

I'm a fan of both the old Ben Folds Five (which was a trio, as noted) and Ben Folds solo work. His last solo disc (Songs for Silverman) wasn't as strong as his first... my favorite of Ben Folds Five has to be Whatever and Ever Amen... I describe him as piano-pop-rock in the style of Elton John meets the Barenaked Ladies

Again, as in another thread, the problem is conceiving of intellectual property as exactly the same as physical property. Copying a CD is not just a physical replication of an object, but an act that effects the valuation of a piece of intellectual property. There's no reason that we HAVE to treat the two kinds of property as if they are the same, even if the physical property metaphor is the nearest to hand when we talk about it... The problem is that in the digital age, the two rights are so obviously different and so unbound from one another that what has always been an issue obscured by other factors is now an obvious issue on its face. We've ALWAYS been, essentially, renting intellectual property when we "purchase" it-- it just hasn't been so obvious...

She may not be coasting on her Dad's reputation, but she has a ways to go before she has any real claim on being a *jazz* singer, which is part of the problem...