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Adam

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  • Birthday 06/19/1966

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    http://www.lafilmforum.org
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  1. And Ruth has been the director of the Jazz BAkery in Los Angeles for many a year.
  2. Here's full info on their site, and the 3 CD set is only $30 from Resonance directly. https://resonancerecords.org/product/les-mccann-never-a-dull-momentcd/ Also note that the early Nat King Cole box is only $30 for 7 CDs, and $60 for 10 LPs https://resonancerecords.org/product/hcd-2042-nat-king-cole-hittin-the-ramp-the-early-years-1936-1943/ https://resonancerecords.org/product/nat-king-cole-hittin-the-ramp-the-early-years-1936-1943/
  3. A bit interested in breaking this down. Asch should be under Smithsonian Folkways - that shouldn't have been hard to license. Commodore, Keynote, Signature - I thought these are all Universal Music Group now, as are Blue Note & Verve, whom Mosaic obviously works with regularly. RCA Victor should be Sony/BMG I don't know who controls Musicraft, Swing, and Apollo these days, although most fo the time, the answer seems to be Universal Music Group. 🙂 In other words, I would have thought that they could have included some of those sessions as they are under parent labels with whom they have worked before. Maybe there are other issues, like some labels not wanting to be in a set with other particular labels, or a concern regarding the total number of discs and the cost. All speculation.
  4. Generalizations can be accurate with individual cases being exceptions. So the presumption doesn't fail based on your one case, same as my individual case (also not being more well-to-do) doesn't disprove the accuracy of the generalization. And I think it is safe to say that most jazz vinyl collectors skew older and more well-to-do. I would hope that that isn't always the case. I think your second point has an embedded really important point. Younger, not-wealthy buyers need to see some less expensive releases in order to buy the vinyl, so that there will be a future for jazz. Here in Los Angeles (big city), there are solid crowds for experimental and improvised music (and very small audiences as well), but I don't know if many of those people are looking at buying jazz from the 1940s-80s, and at $30 or $40 a record, they aren't likely to pick any up on a lark. Limited edition high-cost box sets from New Land (last year's Dorothy Ashby, and now this) aren't really going to be the primary practice of the industry; these are exceptions, and may or may not find enough buyers at that price point. It costs a lot to do all the work for a nice box set - restoration, paying for essays, licensing images & music, pressing records, storage, paying personnel to administer, assembly, shipping etc for a product that will never have mass sales. And their break-even point needs to be somewhere below selling all 1000 copies. I mean, I won't buy it, and they probably won't sell all 1000. Would they sell them all if they priced it at $100? $75? That doesn't seem likely either. Might as well price it high, so they can break even after selling X number (200? 300?)
  5. Third Man Records brought it out as a Verve By Request, for $40 https://thirdmanrecords.com/collections/all-music/products/the-peace-maker-limited-edition-yellow-vinyl
  6. More Big Jay McNeeley. His original hit: And Joe Houston - All Night Long
  7. me three. no new ones on their site yet. ad one of these two was not sold out as of yesterday
  8. For a documentary I'm working on, I'm trying to locate copies of two 45s from J-V-B Records in Detroit in the 1950s, in the hopes of getting high resolution scans of their labels. They are Aretha Franklin "Never Grow Old" https://www.discogs.com/master/361484-Aretha-Franklin-Never-Grow-Old-You-Grow-Closer Kenny Burrell "Kenny's Sound" https://www.discogs.com/release/14030770-Kenny-Burrell-Four-Sharps-Kennys-Sound-Funny-Valentine If you have one, please write PM me. Thank you!
  9. There also were two additional ones available now on their site, plus an offer to subscribe to all the rest. Eleven items total.
  10. I didn't see anyone knocking old white men, just stating that they are the primary makers & buyers of Mosaic sets. Then, they tend to die off. And young people, without kids but with disposable cash, tend to be the biggest buyers. And vinyl has passed CDs in sales in the US now. Honestly, a Shirley Scott set of jazz & funky material on vinyl, pitched to DJs and younger folks, would probably sell just fine.
  11. Still working with Resonance. He lists various things coming up in the next year on various labels in this article in Variety this week: https://variety.com/2022/music/news/record-store-day-jazz-detective-zev-feldman-ahmad-jamal-vinyl-exclusive-rsd-1235441748/
  12. I saw him several times, mainly at Catalina's in LA, but I was also at that Horace Tapscott Tribute show that sidewinder mentioned (well, if it was the same one, at Washington High School, that started as a fundraiser for Tapscott's medical bills, then it was announced that he had passed, then it became a tribute and celebration.) Sanders at the point I saw him was playing in a way that i could bring non-jazz people to see and they would get totally it (we're talking late 90s, early 2000s). Each set was really a full performance, intensity and beauty, the church with "Creator Has a Master Plan" and a meditative spiritual ending with the circling of the bowl and it making that beautiful tone. The audience would be fully there, totally silent for the note from the bowl and its slow decay. There was an 80th birthday celebration for him last year, and I'm sorry I missed it. I really found his live shows (especially with William Henderson on piano and Alex Blake on bass) to be magical.
  13. Fabulous film. I've screened it twice at Los Angeles FIlmforum over the years. A few years we showed it at Union Station in downtown LA, and Nathaniel Taylor and Jesse Sharps were both available for the introduction. Taylor has passed away since then. You can watch the intro here: https://www.youtube.com/watch?v=SV5qJmB-gWY
  14. The film states that one hour of each day's content was broadcast on a local (public access?) NYC station as it happened. You can see in the film that it was a mix of celluloid and video - you can still see the video noise on the edge of some frames. And you can see one of the video cameras front and center recording at least one performance. It seemed to me that more celluloid was used in earlier weeks. The still photo that I've seen of that basement shows film reels and video tape reels. They decompose at different rates, but if the basement was cool enough and dry enough, then they can last. Good archives are mainly cool and dry. The celluloid would last longer than the video. I'm pretty amazed at how much video survived. Not sure if any of that is important. But whomever paid for the filming originally would own the rights until someone paid for them. They never say whose basement, oddly. I would have assumed that it was the organizer's, Tony Jackson (?), but if it were his, then I would have thought that they would have said so, and I don't recall that. But lots of old films and home movies live for long periods in basements, attics, closets, and under beds. I don't care about whether "never before seen" is 100% accurate - that's a sales line. I haven't seen any of it before I just wish they had included some footage from the last date, with the beauty contest and some acts that I have never heard of. And I don't understand why they don't have a CD box set all ready to go. Sure it would cost a lot, but it seemed like the audio recording was pretty good. Not even a double disc of selections from the film? That would be affordable, and pretty standard.
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