david weiss

Housecleaning again..... Postage $2.50 for the first CD in a nice mailer, 50 cents per CD after that....... Overseas- actual postage $7 Luis Perdomo "The 'Infancia' Project" Criss Cross Sold Amir El Saffar "Two Rivers" Pi Donny McCaslin "Casting For Gravity" Greenleaf Sold Michael Formanek "The Rub and Spare Change" ECM Sold Jason Palmer "Here Today" Steeplechase Gretchen Parlato self produced Jenny Scheinman "Mischief & Mayhem" Denis Charles IVtet "Captain of the Deep" Eremite Sold Louie Bellson and Clark Terry Louie & Clark Expedition 2" Percussion Power Sold Miles Davis "1969 Miles Festiva de Juan Pins" Sony Japan $5 Rez Abbasi "Bazaar" Zoho Sold Randy Sanke "The Subway Ballet" Evening Star Sold Akua Dixon " Moving On" Bill Moring "Spaces in Time" Owl Studios Gonzalo Rubalcaba "Faith" 5 Passion Chip White "Personal Dedications & Percussive Tributes" Alex McCabe "Quiz" CAP Bart Wirtz "Dreamer" Challenge (with Nicholas Payton) Bill Easley "Business Man's Bounce" 18th & Vine John Hart "Standards Green and Blue" Hep Jazz Kellylee Evans "Nina" Plus Loin Afro Cubano Chant Hip Bop (with Gato Barbieri and Bob James) Rob Mazurek Pulsar Quartet "Stellar Pulsations" Delmark (Promo Magic Marker in Bar Code) Sold Rob Mazurek Octet "Skull Sessions" Cuneiform (Promo Hole Punch in Bar Code) Sold Noah Preminger "Before the Rain" Palmetto (Promo Hole Punch in Bar Code) Michael Formanek "Small Places" ECM (Promo Scratch through Bar Code) Sold Bill Frisell "Beautiful Dreamers" Savoy (Promo Magic Marker in Bar Code) Sold Nicholas Payton "Sonic Trance" Warner Brothers (Promo Magic Marker in Bar Code) Joey DeFrancesco "Wonderful! Wonderful!" (with Larry Coryell and Jimmy Cobb) High Note (Promo Hole Punch in Bar Code) Pat Metheny "Unity Band" Nonesuch (Promo Magic Marker in Bar Code) We Three "Three for All" (Dave Liebman, Steve Swallow, Adam Nussbaum) Challenge (Promo Notch in Spine) John Hicks "Crazy for You" Red Baron (Promo Tiny Hole Punch in Bar Code) The Blue Note All Stars "Blue Spirit" Blue Note (Promo Notch in Spine) Carlo DeRosa's Cross Fade "Brain Dance" Cuneiform (Promo Hole Punch in Spine, Promo Sticker on front case) Darren Johnston's Gone to Chicago " The Big Lift" PFR (Promo Sticker on back cover) Bob Mover "It Amazes Me" Zoho (Promo Hole Punch in Bar Code) Black Note Nothing But the Swing" Impulse (Promo Magic Marker in Bar Code, Promo Sticker on Cover) Russell Gunn "Ethnomusicology Volume 3" Justin Time (Promo Hole Punch in Bar Code) Antonio Hart "Don't You Know I Care" BMG Novus (Promo Hole Punch in Bar Code) Hip Bop Essence All-Stars "Afrocubano Chant Two" Hip Bop (Promo Hole Punch in Bar Code) Miles Davis Quintet "Masqualero" Jazz Birdie's of Paradise (1967 Antwerp) Miles Davis "In Newport" Legendary Collection Series (Newport 1966 and 67) Miles Davis "Starlight in Black" Legendary Collection Series (Tokyo July 12,1964) Miles Davis "No (More) Blues" Jazz Door (Portland 1966 St. Louis 1963 Miles Davis "Miles in Berlin" Super Sonic (Berlin 1969) $10 (Sealed) The Cookers "Warriors" JLP (Extended Artist's Cut) David Weiss and Point of Departure "Venture Inward" Posi-tone $7 (Sealed) David Weiss and Point of Departure "Snuck In" Sunnyside David Weiss and Point of Departure "Snuck Out" Sunnyside $5 The New Jazz Composers Octet "The Turning Gate" Motema

From George's Facebook page..... Happy birthday to Roy Haynes! This is a performance that we did together with Wilbur Ware on bass and Andy Bey on piano at Musart, in 1966. https://soundcloud.com/georgebraith/all-the-things-you-are?utm_source=soundcloud&utm_campaign=share&utm_medium=facebook&utm_content=https%3A%2F%2Fsoundcloud.com%2Fgeorgebraith%2Fall-the-things-you-are

But do you think they are taking big risks? The kind of risks that have huge payoffs a lot of the time but can also result in big mistakes/train wrecks? Yes? No? Maybe? Sometimes? If opportunity presents itself? Size of reward not always related to size of risk? Surviving is the biggest risk of all? Exactly Jim..... I think you described it well before I even tried to respond.... If any of the individual players are making choices that just fuck everything up, we are certainly not hearing it overtly in that way..... My initial impression of the group was they all waited with baited breath to react to what Wayne did as opposed to say what Herbie Hancock did which was to create a mood for Wayne to play over. This created a stasis of sorts as no one really seemed to take charge or really even direct things but there would be these short peaks that would create some genuine excitement and then would quickly go back to where they started. They have made this their language though and over 12 years have refined it into more of a group improvisation thing that certainly has it's moments and is certainly more then that to those who find this sort of thing deep and enjoyable (to each his own of course). It's been 12 years and they have certainly evolved and taken the music somewhere. Since I guess we have all been listening to the 1969 Miles stuff though and I assume most here have heard most of that stuff from the beginning of the band until the end, for comparison sake (though not fair I guess), see how far that band went in 7 months time, how they morphed into an almost completely different sound in that short period of time in the course of finding their true group sound.

Any kind will do....but more of a live fleeting thing I guess.....the audience might stand up and cheer or just be too blown away in the moment to do anything..... It's all sort of nice and flowing but if anyone is taking big chances they are certainly doing it within the context of that nice and flowing thing which doesn't seem like the biggest risk in the world to me... No pain, no gain.....

Good point Jim, I was talking about this with a fairly prominent musician who has played with Wayne and Herbie et al and he sort of was saying the same thing but emphasized he thought Wayne, with this band, was picking up where he left off with Odyssey of Iska and Super Nova a little more then early Weather Report but it's all pretty much the same. I have to go back to all and see for myself a little.....

I think reverb was added in the mastering of the Japanese cd. And it muddies things up for me, and makes bass and drums sound thicker, slower, maybe "pretiier," but not "prettier" to me on my system. The new one is a definite upgrade for me. There is definitely reverb added to the Japanese CD. It's a bit too much and quite artificial but it does help warm some things up and makes most of the instruments sound fuller (this is what reverb is supposed to do actually) and while that is nice, the reverb is just too artificial to make this a more pleasant listening experience. They could have used a different sort of reverb or less of it and it might have had a better overall effect (as in it makes everything fuller and warmer but you don't actually hear more reverb). This new version could have used a little of that, it's bright and a little thin but a better overall listening experience I guess. I've had copies of this stuff for years and I actually still like the sound of my raw boots better then this. I'm just glad this stuff is out. I love it. Miles is so strong of these CDs (and most of the 1969 stuff). I've used the second show at Antibes to debunk the Miles is not a great trumpet myth many times. That second show has some of the most intense, powerful trumpet playing ever to me, especially on Masquelero.

I'm told them personnel on this one is Chick Corea, Louis Hayes and Butch Warren

Since he is still with us, let's help him.... http://www.youcaring.com/help-a-neighbor/please-help-julian-priester/38293

I don't know if Facebook links work but..... http://www.facebook.com/alex.bugnon.3/posts/10152541319960578 It's a strange situation......I'm sure they are trying to handle this as they see fit but.......

But do you think they are taking big risks? The kind of risks that have huge payoffs a lot of the time but can also result in big mistakes/train wrecks?

I don't want to put RIP in the title yet but this does appear to be the case. I'll let you all know when I know with 100% certainty . One of the greats of course.... I got to hang with him a bit and talk to him on several other occasions. Quite the thinker on a number of wide ranging topics. I think the last time I saw him was at a Kennedy Center event in 2007......

It think Miles used performance enhancing drugs.....

I'll miss him..... One of the first guys I knew out here and always good to me. Quite a career as well of course.....

One day sale at Pop Market.....a little cheaper then what I've seen elsewhere...... http://www.popmarket.com/details/27965220?feature_id=27968012

I'm actually unsure myself but those would be my guesses...... The last one..... Rein de Graff I think

Some more..... Personnel anyone?

KD on Avenue A near 7th Street

I'm left handed. I showed some right handed abilities as a child (switch hitting and such) so there was talk of "switching" me. In the end they were more concerned about my ability to do things from both sides and said I had to choose one and stick with it. I went with lefty of course. My octet that toured with Freddie Hubbard with the right subs, had as many as six or seven lefties in the band at one time.....

I'm not exactly sure about this but if I recall correctly, the normal max is 74 minutes. A CD can hold up to 80 minutes of music (maybe stretched to 82 I guess) but after 74 minutes, it's a special order and most manufacturers won't guarantee the work if it is over 74 minutes. A CD I'm working on now, a live CD, was clocking in at around 78 minutes so these were some of the things I was told as I was contemplating releasing something this long. In the end, we cut a tune....partially because of these issues and more importantly the flow and pace were better with one less tune.....

Dan, I like you and have always had pleasant interactions with you but please, a friend and close colleague lost his daughter to gun violence and I don't think it's really the time to hear about how more guns is the solution. I know you were responding to someone but it would be nice if this page were free of this sort of discussion. Perhaps you can create a separate thread if you want to have this debate. Thanks....

It was a beautiful concert in front of a sold out enthusiastic audience.

From what I'm told, everyone is fine except unfortunately the bus driver who died in the accident. Through the magic of Facebook, I've seen posts from many of the band members who are Facebook friends as is someone from his management team and all reports are that that Marcus and the band members are all fine. Quite an ordeal though I'm sure..... Life on the road.....

late '80's or early '90's I think...... There wasn't a lot of time to chat on these gigs so I didn't really get to talk to him. It was a long time ago but I remember thinking a lot of the guys in the band were not so nice and kind of disrespectful to him. Those gigs didn't bring out the best in people though...... Like most wedding bands, it was essentially a Top 40 band that had the skills to a little bit of everything. Candido would of course be featured when they did their Latin medley. I was sub in the band but I got the impression that this was a pretty steady gig for Candido. It was the top band in this particular (wedding band) office and those bands usually work a lot. I'm not sure I had very specific goals when I moved to New York. I think I just wanted to play as often as possible in the best possible situations. I did have to pay the rent though so the first thing I learned when I got here was about the abundance of all sorts of other types of gigs one could do to make ends meet. So I did wedding bands, all types of Latin gigs, Haitian gigs, Soca bands, big bands (including a ghost big band or two), a cruise ship once, a parade or two and so on and so on...... Some of these were really awful of course..... I was also going to jam sessions almost every night as well and certainly would go to one after the wedding gigs to get that stink off of me. Eventually I got more calls to do what I came here to do and at some point began formulating my own ideas for my own bands and took off running from there. Some of these other gigs were a lot of fun and a good experience and even a little educational. I got to play with some of the top Salsa bands in New York and they were great. Some of the Soca gigs were really cool and the Haitian Kompa bands were great as well.

I hope you guys consider supporting this great and I think worthwhile project. Only 56 hours left and he is getting close to his goal......

When I first moved to New York, to make ends meet, I played in a few wedding bands. One such band featured Candido and they would do a big Latin medley featuring his many talents. That 10-15 minutes was a lot of fun. The rest of the gig sucked as usual and Candido would lightly tap on the congas for the rest of the night. Nice guy......