GA Russell

Fer Urbina, thanks for your response. My next thought would be about concerts broadcast over the radio. Let's say Record Company signs Smith to a five-year exclusive contract in 1965. Smith's quintet's 1967 performance is broadcast over the radio with Smith's knowledge and consent. Jones recorded the radio broadcast. In 2020 Jones releases a CD of his recording of the 1967 broadcast. Smith and all of the band members are dead. Does European copyright law give Record Company the ownership of the recording, even if Record Company had no relationship with either Radio Station or Jones?

Jim, I'm happy to hear that your daughter is OK. I hope that none of the victims were her friends.

$11.95 https://www.hamiltonbook.com/mose-allison-live-1978-compact-disc

Today's Jazziz podcast with Bobby Broom. https://www.jazziz.com/bobby-broom-the-jazziz-podcast-17/

RIP. The first movie of hers I saw in which her work was serious was The Three Musketeers.

I had Sirius about fifteen years ago. What I remember most is that you never drove out of range of the signal of the station you were listening to.

Here's That Rainy Day https://artpepper.bandcamp.com/track/valentine-freebie-heres-that-rainy-day

The Oscar Mayer Weinermobile was in Las Vegas last week, and somebody stole the catalytic converter.

"91 percent of U.S. adults listen to the radio at least once a week, far exceeding the reach of live and time-shifted TV at 76 percent, social media at 70 percent an online video at 67 percent. While radio does win in terms of sheer reach, TV remains unparalleled with respect to average daily usage. According to Nielsen, U.S. adults spent an average of 3 hours and 41 minutes watching live and time-shifted TV in Q3 2020, which is roughly 2.5 times the amount of time they spent listening to the radio (1 hour and 31 minutes)."

RIP. Last night I dreamed about a bunch of kids singing Alfie! I remember a Cilla Black interview in which she said that Burt made her record Alfie over and over, and neither she nor George Martin had any idea what he was looking for. The original recording of My Little Red Book was by Manfred Mann for the What's New, Pussycat? soundtrack. Manfred couldn't get the hang of the rhythm of the piano part, so Burt played it himself while Manfred played the organ. When he married Carole Bayer Sager, instead of vowing "I do" he said, "I'll try!" I always enjoyed the Butch Cassidy record.

Artist Title Time Jim Snidero Far Far Away 06:59 Jim Snidero Infinity 07:39 Jim Snidero It Might as Well Be Spring 07:00 Jim Snidero Nowhere to Hide 06:56 Jim Snidero Obsession 07:52 Jim Snidero Pat 05:16 Jim Snidero Search for Peace 04:45 Jim Snidero Little Falls 07:42 New from Jim Snidero Far Far Away Savant Records SCD 2207 Jim Snidero – alto saxophone Kurt Rosenwinkel – guitar Orrin Evans – piano Peter Washington – bass Joe Farnsworth – drums Airplay Starts Now Suggested Tracks 4. Nowhere to Hide (6:56) • 6. Pat (5:15) • 7. Search for Peace (4:45) • 8. Little Falls (7:41) Like our stuff? Let’s hear from you. Record Company Contact Barney Fields • Savant Records, Inc. barney.fields@ix.netcom.com • (212) 873-2020 • www.jazzdepot.com 2207 Jim S... 2207 Jim S...

Kevin, I'm not sure that's right. I'm no expert, but I think that tracks recorded in '62 are PD in Europe. It's very possible that many 1962 recordings were released and sold in 1963. They would be public domain now nevertheless. Any European here want to weigh in?

$9.95 https://www.hamiltonbook.com/dave-liebman-live-at-smalls-compact-disc Tyler Mitchell Octet - Sun Ra's Journey - $9.95 https://www.hamiltonbook.com/tyler-mitchell-octet-sun-ras-journey-compact-disc

SLIDE HAMPTON: The Classic Albums 1959-1963 (8 albums / 62 tracks on 4 CDs) - $13.95 https://www.hamiltonbook.com/slide-hampton-the-classic-albums-1959-1963-compact-disc

An American couple are driving through Canada, and stop at a gas station to fill up. As the man goes into the station to pay, his wife calls out to him, “Ask them where we are!” So the husband walks in, pays and asks, “By the way, where are we?” The attendant answers, “Saskatoon, Saskatchewan.” The man goes back to his car, and the wife says, “Where are we?” “He doesn't speak English."

One August, '77 or '78 I think, I visited Ontario (to take in a couple of Canadian league games, natch!). I don't recall the television of the motel room in Toronto having cable TV, but it had a cable music channel. That was an avant garde thing in those days. There was no announcer, no advertisements, just music. Imagine my surprise when on came WDISATBJ!!!

Sounds great, sg! By the way, what was the If song you wrote an arrangement for?

HutchFan, that was sort of my guess! Thanks!

jl, what does your emoji (emojo?) mean?

+1 However, the Eagles are a pre-expansion team, which is good too. I started collecting NFL and CFL bubble gum cards in 1959. Since then, 7 of the 9 CFL teams remain unchanged, while 9 (if we include L.A.) of the 12 NFL teams remain unchanged.

Welcome back Lazaro! I've seen that you post from time to time on Facebook, and I've wondered when we would see you again here.

Saxophonist/Composer Alex Weiss Exhibits His Surrealist Jazz Conception on "Most Don't Have Enough," Set for February 24 Release By Ears&Eyes Records Album Features Seven Originals, Two Avant-Jazz Covers In the Recorded Debut of Weiss's Glad Irys Quintet With Saxophonist Dan Blake, Guitarist Yana Davydova, Bassist Dmitry Ishenko, & Drummer Ches Smith, With Guest Pianist Marta Sanchez CD Release Show at P.S. 133, Brooklyn Tuesday, March 14   January 23, 2023 Alex Weiss’s idiosyncratic vision of postbop jazz finds a new apex with the tenor saxophonist-composer’s February 24 release of Most Don’t Have Enough (ears&eyes). Weiss’s third album as a leader is also his first with Glad Irys, his working quintet since 2019 comprising soprano saxophonist Dan Blake, guitarist Yana Davydova, bassist Dmitry Ishenko, and drummer Ches Smith, with pianist Marta Sanchez adding her distinctive stamp to two of the album’s nine moody, mysterious tracks. Seven of Most Don’t Have Enough’s tunes are Weiss originals, each bearing the composer’s hallmarks of unusual form, meter, and texture. His approach to music and art is deeply informed by the work of his grandfather, the great Spanish surrealist Eugenio Granell. “The importance of exercising one’s imagination was instilled in me by my grandfather,” Weiss says. “I started seeing a synergistic relationship between the jazz idiom of the ’50s and ’60s and surrealism, and the element of social protest in both.” That context by itself suggests a great deal of freedom in Weiss’s music, and he does not disappoint. Pieces like “Thread Your Grandmother’s Needle” and “Akira: Sun and Moon” offer wide open spaces for the players to color as far outside the lines as they dare. There is even a cover of Ornette Coleman’s “Humpty Dumpty” to reinforce that sense of creative liberation. Like Coleman, however, Weiss’s music is also rich with melody—though rarely of a conventional stripe. There’s great lyricism and enchantment to be found in “The Leonard Nimoy Method” and “Thumbelina”—as well as great fun in trying to guess where the tunes will go next. Most Don’t Have Enough is also (as the title suggests) a vehicle for social and political commentary. “Your Dark Shadow Appears at the Door” is a menacing meditation on the onset of the Trump era; titles like “Homage to Elijah Cummings” and “Organized Religion” speak for themselves. Also speaking for themselves are Weiss’s brilliant collaborators. Blake is both a superb frontline partner for Weiss and a stunning improviser on “Humpty Dumpty” and the band’s cover of Chris Speed’s “Really Ok,” and the rhythm section of Davydova, Ishenko, and Smith make for a thrilling blend of stable and adventurous support, with each turning in remarkable solos of their own. Sanchez’s presence illuminates “Homage to Elijah Cummings” and “Akira: Sun and Moon,” imbuing both tunes with a jolt of unexpected pathos. Alex Weiss was born January 5, 1971, in New York City, but was raised in the Boston area. Beginning on saxophone at 12 years old, he was gigging professionally by 15. He studied music at the University of Massachusetts and San Francisco State University, also conducting life-changing “field work” at the latter city’s fabled Saint John William Coltrane African Orthodox Church where he played every Sunday for two years. Weiss made his way through the 1990s in San Francisco, where he made important connections with saxophonists Roberto DeHaven (who played on Weiss’s 1997 debut recording, Make Your Own Lightning), Marco Eneidi, Glenn Spearman, and John Tchicai. He relocated to Spain in 1999, spending four years in the Madrid-based band Mojo and leading his own Gallo Pinto quintet. Returning to the Bay Area in 2003, he played in multiple contexts and projects—including his quartet Outhead, with which he recorded two albums (2007’s Quiet Sounds for Comfortable People and 2014’s Send This Sound to the King). Arriving in Brooklyn in 2008, Weiss reunited with Tchicai to record One Long Minute with the Danish saxophonist’s Five Points band, working with bassist Dmitry Ishenko and Ches Smith, who would become longtime collaborators. They worked with him on 2012’s Fighter Planes & Praying Mantis, his second recording under his own name. Weiss also worked with the likes of Wadada Leo Smith, Herb Robertson, Sean Conly, Shahazad Ismaliy, Marcella Lucatelli, Liz Kosack, and Santiago Leibson; played in the hora/klezmer outfit K’nock Brigade; and earned a master’s degree in music therapy from New York University. The 2013 birth of his son took Weiss off the bandstand for a few years; shortly after he formed Glad Irys in 2019. The COVID-19 pandemic forced another long hiatus, which he used to compose much of the music that now makes its way to the world as Most Don’t Have Enough. Alex Weiss will be performing a CD release show with the band heard on Most Don’t Have Enough on Tuesday 3/14, 6pm, at P.S. 133, 610 Baltic St., Brooklyn, NY. Photography: Kathryn Lewis     Alex Weiss EPK: "Most Don't Have Enough"  Alex Weiss Web Site    

The Congressional Budget Office reports that the Social Security fund is headed for bankruptcy in ten years. https://www.theepochtimes.com/social-security-will-be-bankrupt-by-2033-on-current-trajectory-cbo-report_5003529.html

Thank you, Dan!