Scott Dolan

No. In the case of Spotify, they are paying the labels for the right to stream their music. They pay a hefty fee up front, and then a fee for each time a track is listened to.

Did you read the story I linked to? It's not as though Spotify is swimming in money. Either way, I use Apple Music and wonder if that's what your Jazz guitarist friend was talking about. iTunes are downloads, Apple Music is their streaming service.

No digression, we can walk and chew gum at the same time. This isn't the Hoffman forums. And I'll grant that perhaps "fuck him" is a bit harsh, but it just gets old after a while. I counted 19 titles of his on Apple Music, BTW. To build on this point: https://www.recode.net/2018/2/28/17063892/spotify-ipo-margins-music-labels-streaming Spotify will eventually have to end their free service. Apple Music and Tidal don't even offer one.

Odd as it sounds, I'm almost afraid to listen to the Olympia date again any time soon. I never want that shock and surprise to wear off as all of his other playing eventually did because I listened to it nonstop for years. It seems as though this is my last opportunity to truly be blown away by Coltrane, and I don't want to see it pass. Although I know it will... mjazzg, I get what you're saying, and agree to a certain extent. But pull your stuff if you're unhappy with a distributors business model. Simply complaining about it without taking action rings pretty damned hollow, IMO.

First things first. It's $10 a month to stream Apple Music or Spotify premium, and you can listen to it on a continuous loop if you want. Though I do get the liner notes thing, which is why I'm considering getting a physical copy of this particular set. Something I hardly ever do anymore. Second, if Vandermark hasn't learned by now, like his fellow musicians have, that you're only going to pay the bills by touring/playing live, then fuck him. He's also perfectly free to pull all of his material from any and all streaming services.

Yes, and naturally it was because of Apple and the labels. It had nothing to do with the bullshit he and his company were trying to peddle.

Yeah, but not doing so good on the health front, obviously. So perhaps you’re only half right.

Pretty much describes me perfectly! I have a friend that is getting his feet wet in the Coltrane Ocean. So after several coaching sessions with him, I realized that even though I have over 100 discs with his name attached, and gave my son Coltrane as a middle name, I’ve not truly spent an extended period of time with his music in the past two decades! And almost all my critical listening time is spent listening to Free Improv these days. Now, I don’t know that this box set will change any of that in a significant way, but at least the Olympia date is one hell of a ride!

That's good. I was more wondering about the price fluctuations Kevin had observed.

Did you make sure they were CD and not LP? I saw a LP box on Amazon for $15 Saturday. CD box was stil $49.98.

Looks like 16GB is the largest Sandisk model.

Brad, is there a reason why you won't use your phone? Not enough memory?

Jim, as much as I’ve shit on your ramblings in the past (some deserved, others not), I have to humbly admit that post may be the most insightful words I’ve read in a really long time. Miles was very intuitive, and never passed up riding a tiger by the tail. His subsequent quintet with Shorter certainly showed that he took very tight mental notes. He saw the future before he knew he saw the future. Hey, he wasn’t a genius by chance.

Well said, gents. And I’ll add that whether the crowd had heard Giants Steps or not, even that was incredibly buttoned-down in comparison with the Olympia date. Look, I have nearly 100 discs worth of Coltrane. But he even caught me off guard a few times during that set! To the point where I occasionally let out a nervous, giddy laughter. This was 1965-level Coltrane playing, in a 1960 context. Add any superlatives you can think of to describe this set. They will all be 100% correct, and completely lacking at the same time. The greatness of this set cannot be overstated. This is once in a lifetime stuff.

That’s the custom in European countries, yes. That was the beginning of the “anti-Jazz” sentiment that he and Eric Dolphy cemented at the Vanguard in ‘61. Either way, there’s a HELL of a lot more cheering than whistling.

Olympia is fucking transcendent. And the audience knew it. Right then. In real time.

$50 for a four CD box set? $12.50 per disc seems reasonable. ?

Have this one playing right now. The Olympia material is beyond great! Miles and Coltrane sound like they are truly trying to kill each other! By far the most ferocious playing between those two that I’ve ever heard. If you don’t think you need this set, you think very, VERY wrongly! I may even spring for the actual physical box on this one.

I second the Onkyo and Yamaha suggestion, and would also throw Denon into the mix. For the money they are all pretty similar in options and performance. Marantz may be slightly better, but very slightly, IMO. Eiether way, you’ll definitely end up with a super nice AVR in that price range.

I have to say that I find the term “swing” trite, over-used, and barely understood. If it’s good to my ears, I like it. If it isn’t, I don’t. Couldn’t give two fucks as to whether it “swings” or not.

Listening to a great one right now. Tensegridad - Paula Shocron/German Lamonega/Pablo Diaz

I do agree that the bulletin board format, in general, is a relic from the past, but there are tons of new releases out there. To me it seems the issue here is most of our regular posters don’t listen to much that was recorded after the 1960’s (I’m assuming that’s what Chuck was referring to with his “conservative” observation). I’ve been listening to a lot of great new releases as I’ve been going through this: http://www.freejazzblog.org/2017/12/free-jazz-blogs-2017-top-10-lists.html I’ve never contributed here before, but count me in. I don’t understand how PayPal works, but I’ll figure it out.

Not really. Browns are hanging in there.

Interesting thought, but I honestly see no parallels there. I think it’s less nature vs nurture than it is a fact that the possibilities are simply running out. It’s not so much population growth, uness you want to argue that the more creative musical minds you add to the world are rushing us towards the “finish line” faster than ever, as it is there is a finite number of ways to compose, arrange, and play sounds. And the shelves in that store are looking pretty bare these days. BUT, back on topic, I find it impossible to listen to all these young and outrageously talented women and think to myself, “hey man, that’s been done already”, because it actually hasn’t! Now, the interesting part of that is what if I were listening to this in a vaccuum? Had no idea whether Jack or Jill were playing. Would it be the “same thing” again? I wonder.

I think you’re both right. Music has always been a reflection of society in a general sense. Just makes me somewhat sad to think that maybe there have been a lot of great female musicians in the past that never made it because of the things you’ve both pointed out. I mean, women didn’t just start getting talented...