Tom Storer

The only thing that needs beefing up is the "I am guessing that" part of point 2.

To reputedly die--I like that. It's like old soldiers just fading away. I hope that rather than dying one day, I reputedly die.

I don't have a link or anything, but I read an interview with Metheny where he confirmed they'd be releasing (don't know when) the first two Metheny-Mehldau discs in a single package. The interviewer wondered about the wisdom of it: since it's known, wouldn't people just not buy the first two and wait for the double? Metheny said that was short-term thinking--CDs in his catalogue might not sell huge amounts at one time but keep selling year after year. As far as he's concerned, people who bought the first one can just buy the second one, and vice-versa, whereas for years to come, those who haven't bought either will be able to choose to buy them one by one or both together.

I got mine a couple of days ago--one of the best so far, IMHO. 1956 was a very good year.

The government doesn't give a damn about "adventurous music". If they're going to target anyone for scrutiny it will be for political reasons. By the government? Were the jazz police part of the government then? Coleman apparently didn't record between Dec. 1962 and June 1965, but I don't think commercial acts were particularly worried by avant-garde jazz at the time. "BEATLES CONCERT A FLOP; ORNETTE COLEMAN PACKS SHEA STADIUM." Nah, I don't see it.

Good one! Took me a second to parse.

You say Carmeena, I say Carm-eye-na, You say Burayna, I say Burahna, Carmeena, Carm-eye-na, Burayna, Burahna, Let's Carl the whole thing Orff! HA HA HA HA HA HA HA HA HA HA

Larkin wasn't known for his eager curiosity and open-mindedness. Wasn't it he who said "I loathe abroad"?

I think the ownership of the tail of the queen is something the king and queen need to work out between themselves. And I don't see what whales have to do with it.

Unless you don't have anything he plays on? I beg to differ. You could have several of these selections already and it would still be a valuable summation of Haynes' career. It's a Roy Haynes anthology. I think it's perfectly appropriate for jazz fans who are not serious collectors--me, for example.

This was one of the albums that was a revelation for me in my high school years and just discovering jazz. That something so imaginative and free could be so swinging and work so perfectly together... clearly jazz had very strong juju. This was like blues and funk but in the stratosphere--so sensual and so cerebral all at once. It still kills me every time I listen to it.

Thanks, Frank. I think I have the picture!

In the November issue of the French monthly Jazz Magazine, there's an article in which three French musicians--pianist Guillaume de Chassy, bassist Stéphane Kerecki, and drummer Fabrice Monteau--talk about the Keith Jarrett "standards" trio. The angle is "one trio talks about another that is among their models." Anyway, I was surprised to read some of the things they had to say about Gary Peacock. I'm not a musician, and sometimes we laymen are startled to learn that a musician who has a certain reputation and history also has certain flaws, according to other musicians, that the untrained might not notice. I've always been very impressed with Peacock's playing, but here's what these guys have to say (my translation): It's not like they're putting Peacock down--on the contrary, they're calling him great, authoritative, a poet, powerfully expressive. But they casually mention shortcomings I would never have guessed--he sounds mighty to me, but they speak as if he's clearly far from technically impressive, even if he is impressive in terms of art and feeling. Which is what counts, of course. Musicians out there, are these guys expressing a widespread view? Is Peacock a brilliant poet but not a solid technician? Just curious.

I've never been very visual, so when I saw Jim's question I thought, "Because they look similar"--two faces, close up so the eyes, nose and mouth fill most of the picture, kind of moody looking. Then the visual descriptions from various people refined the answer with details on just how they look similar. But the typeface! Yes! I hadn't even noticed that the font colors are the same. I'm sure that's the clincher.

Hello Franz. Franz? My name is Gregor!

I awoke one morning from uneasy dreams to find myself transformed in my bed into a monstrous vermin!

Yes! That was a great concert. I had first heard Herbie on a Columbia compilation LP from the 60's that my father had, which included "Seven Steps to Heaven," and also "Jive Hoot" from "Bob Brookmeyer and Friends." Then Headhunters was a hit and I started chasing down other records. But I had never heard about Mwandishi before and that part really intrigued me. The last group was lots of fun, but I was already nostalgic for the original Headhunters.

That was his then-current Headhunters group, no? Did you stay long enough to see Tony Williams take the stage at the same time as the Headhunters drummer and drown him right out?

Certainly, but the ethical point of that argument is more applicable to the situation where a record is not out of print. In that case, clearly a second-hand sale is not objectionable whereas a copy is. Considered solely from the point of view of "is anyone deprived of income," a copy of an OOP record deprives no one of income until such time as the record is back in print again--at which point one's possession of the copy becomes ethically objectionable. But now that I think of it, that's only as far as rights-holders are concerned. I guess you could say that copying an OOP record deprives second-hand dealers of a sale, so maybe you have something there. You might say that the original printing of those LPs established the entire pool of legitimately saleable objects, so any copying deprives someone of a sale, even if it's a second-hand dealer somewhere. I'll have to ponder this.

*CLASP*

If one were to be a hard-ass, legalistic, record-industry son of a bitch about it, one would say that it doesn't matter if a record is out of print, you CANNOT download an illicit copy without being consigned to HELL for eternity. But as far as the artists, or other rights-holders for that matter, are concerned, for an OOP record they don't make a cent off either a second-hand sale or an illegal download, and they materially can't make a cent off a first-hand sale since there aren't any left, so if you download you hurt no one. To be perfectly morally pure, you would have to solemnly vow that if ever the record comes into print again, you will immediately purchase it and destroy your downloaded copy.

I don't have a price limit. It all depends on how much I want the record. I think I've gone as high as $40. Here in France, if I had a $20 limit I'd be unable to buy anything except second-hand or special promotions.

I had the original LPs but never got it on CD. However, I can boast that I was in the audience!

I'm really enjoying it. I had heard some of the funkier ones but hadn't owned any of the Milestones. But I had never heard the spectacular "live in Japan" record, where Joe is just burning! Loads and loads of great stuff here.

I don't have a car. Does that make me ageless?