Adam

My older brother has an eBook set up with Amazon, and its working well enough. You know, not lots of sales, but goes easily enough. You provide an HTML file for them to print from, not a PDF.

I actually just did a rough count, since I need to rethink my shelving and do some unloading. About 2700 CDs (including those in odd boxes, such as Mosaics - might be a bit more than that), and a few hundred LPs. Also a few hundred cassettes. I'd like to get the CDs down to 2000, but it's a pretty solid collection, if I must say so. What do people do for shelving? I can't really afford Can-Am, but open bookshelf after open bookshelf just isn't doing it for me anymore. We've had storage threads before. I'll go find one. edit: oh, also about 51,000 songs on iTunes, which would last over 4 months without repeating.

Thanks for that reference! I was just interviewing Big Jay McNeely today (for the first time of several for a documentary I'm making on him), and he mentioned Vi Redd. She was daughter of Alma Hightower, a key music instructor in Los Angeles whom many people here learned from, including Jay. He really respects both. By the way, no one currently knows of any footage of Big Jay (or indeed of Central Avenue) from his (and its) hey day in the late 1940s/early 1950s. None, literally. Any of you happen to know any other obscure sources.

Updated link: http://www.rollingstone.com/music/news/file-not-found-the-record-industrys-digital-storage-crisis-20101207

Using a piece of "American Look" in a documentary I've been working on. It is fabulous. Watched a nice print of it from Rick at a presentation he did at the Orphans Film Symposium West in 2009 that I helped organise. Seeing it on the big screen was amazing, as were other works that he showed from the Jam Handy Company that made them for GM (Chevrolet, to be precise).

My deepest sympathies to you and your family in this most difficult of times. Adam

I have the work phone number for his brother Alex and for Jeff Gauthier at Cryptogramophone, and for Rocco Somazi, who constantly books him in town. Will any of those do, or only his home land line?

I used to get my espresso beans from Peet's, and now generally get it from Urth caffe in Los Angeles. http://www.urthcaffe.com/ They have good food too.

RIP. Such beauty. The photo the LA Times ran with it in the print edition is so good - but not online. The LA Times obit: http://www.latimes.c...eonard-20100816,0,7645918.story Bob Willoughby last November, Gottlieb, Leonard...

RIP Revenant

This is really sad. I liked a lot of his music, and really loved the Kollektief's. Hoped they might come to Los Angeles again. The performance that I saw, must have been 8 years ago now, was so incredibly vibrant and joyous. RIP.

Thanks. Replied to PMs.

Updated after a few months

Harvey has this whole story in The Quitter - the Navarro piece was his first, and came after encouragement from William.

I've been in touch with Paul Buhle, who co-wrote several books with Pekar on social history as graphic books. I think these are really nice. I was supposed to call Harvey about a documentary proposal, but never did. I think his work was fabulous. A tribute from Paul: http://chronicle.com/blogPost/Memories-of-Working-With/25471/?sid=at&utm_source=at&utm_medium=en And one from Anthony Bourdain, that Paul forwarded me: http://anthony-bourdain-blog.travelchannel.com/read/the-original-goodbye-splendor?fbid=-OwjDDqLkuU Harvey, RIP. You really made a new path in the world.

:tup :tup :tup :tup ... although those Prestige twofers are far from the worst. There have been LOTS of really, really BAD ones in the blues and R&B field. Talk about some late 40s, early 50s biting, ass-kicking' smoking small-group R&B, and on the cover you get a pic of some elderly character attired in the worst, bell-bottom trousered, striped, garishly cut mid-70s out-and-out disco garb and outlandish Afro haircut that would have made Shaft look subdued and restrained, might perhaps have fitted some pimp on the wrong side of the track but looked just oddly out of place on somebody approaching retirement age (and looking the part). Sometimes all this almost resembled some widespread "Let's shove some photographer credits over to Kurt Mohr" (who must have taken a zillion stage photos of those elderly gentlemen at the sunset of their careers) trust effort. And then there were those reissue covers with nondescript, awkwardly modernized "art"work that bore no relationship to the (earlier) music whatsoever. Lack of photos from the days of the original recordings.

I think this is the set you're referring to: 3 Trilogy-30th Anniversary Box I have merged your thread with the existing one about the Vienna Art Orchestra. It might get more attention there. I have this set. I don't recall much singing. But I also think, as others, that it is ok, and not as interesting as the Hat Arts.

Thank you for the inlay! Very nice of you.

It's actually a release from Off the Record, available for sale on the Archeophone site at http://www.archeophone.com/product_info.php?products_id=102

Dear Friend, The following CD is on the way to the distributors: hatOLOGY 692 Lee Konitz, Don Friedman & Attila Zoller Thingin Remastered and redesigned Barcode 752156069225 So if this disc establishes a new incident of history, influenced by lines of inspiration drifting together from the past, it also effects our perspective of that past as an agent of discovery in the present. What they have discovered on this particular occasion is an area of engagement free as the breeze – or perhaps three breezes that momen tarily meet, tangle, blend, and dissolve, warm and invisible, in their own sweet way. – Art Lange Donc si ce disque fonde un nouvel incident de l'histoire, généré par la mouvance de lignées d’inspiration dérivant du passé, il a également un effet sur notre perception de ce passé en tant que révélateur du temps présent. Ce qu'ils ont découvert à cette occasion particulière est un espace de rencontre aussi libre que peut l’être le vent - voire même trois vents, chauds et invisibles qui, l’espace d’un instant, se rencontrent, s'enchevêtrent, se mélangent et se dissolvent, avec une douceur qui leur est toute particulière. – Art Lange Next release on June 15th, 2010: hatOLOGY 698 Sun Ra Arkestra Sunrise In Different Dimensions Remastered and redesigned Barcode 752156069829 “Beauty is necessary for survival.” So Sun Ra told me in 1983. But whether or not you believe beauty is necessary for survival, you can be sure that you’re holding a little piece of it in your hand right now. And who knows but that, in different dimensions, Sun Ra speaks for you? – Graham Lock «La beauté est nécessaire à la survie », m'a confié Sun Ra en 1983. Mais que vous croyiez ou non que la beauté soit effectivement nécessaire à la survie, soyez assuré que vous tenez un petit morceau d’elle - là, juste dans votre main à cet instant précis. Et qui sait si, in Different Dimensions, Sun Ra ne vous parle pas à vous ? – Graham Lock Best regards, Werner X. Uehlinger Hat Hut Records LTD. http://www.hathut.com The Journey Continues the 36th Year too!

Wilshire Ebell - it's a theater in Los Angeles. Interesting organization behind it, a woman;s cultural org founded in 1894 http://www.ebellla.com/ "The Ebell of Los Angeles is an educational and philanthropic organization founded by women in 1894. The mission is to participate in and encourage the educational, cultural and social growth of the diverse Los Angeles community. The Ebell administers a college scholarship program for women and men and a program assisting women in need. The Ebell also maintains and preserves its art collections and its historic Clubhouse and Wilshire Ebell Theatre." I once saw Los Muñequitos de Matanzas there.

Just got this: Dear Friend, The following two CDs are on the way to the distributors: hatOLOGY 686 Loren Connors & Jim O'Rourke Are You Going To Stop...In Bern? Remastered and redesigned Barcode 752156068624 In fact, the art of O'Rourke and Connors lies in letting one feel the immobility within movement, and in instilling movement right at the heart of immobility. It's almost superfluous to say that this music belongs to the realm of dreams, it's music for the mind, abstract and yet wholly present to itself and therefore totally concrete too. The two guitarists set off in search of sound. Their quest is wildly raging now and then, but only for a brief moment, most of the time it's contemplative. Just as the meditative mode can suffice unto itself, so O'Rourke and Connors let the sound come to them, thus giving it all the time and space it needs to unfurl in suc cessive waves, all alike and yet all different. This music, figurative and non-figurative, almost oriental in its sparseness yet eternally rooted in the American landscape, invites the following thought – if John Cage had ever composed any country music, it would certainly have sounded like this …   –Thierry Jousse En fait, tout l'art de Connors et O'Rourke consiste à nous laisser percevoir l'immobilité à l'intérieur même du mouvement… et à instiller le mouvement au cœur de l'immobilité. Il est presque superflu de dire que cette musique appartient au royaume des rêves, que c'est une musique pour l'esprit, abstraite mais complètement présente à elle-même et donc totalement concrète aussi. Les deux guitaristes partent à la recherche du son. Leur recherche se déchaîne parfois avec frénésie, mais seulement pour un bref instant ; elle reste le plus souvent contemplative. Tout comme le mode méditatif peut se suffire à lui-même, Connors et O'Rourke laissent le son venir à eux, lui laissant ainsi tout le temps et l'espace dont il a besoin pour déferler en vagues successives, toutes similaires et au final toutes dissemblables. Cette musique, figurative autant que non-figurative, presque orientale dans sa faible densité et pourtant enracinée pour l'éternité dans le paysage américain, amène à la pensée suivante - si John Cage avait composé de la musique country, elle aurait certainement ressemblé à celle-ci… – Thierry Jousse Tatsächlich liegt die Kunst von O'Rourke und Connors darin, uns die Bewegungslosigkeit in der Bewegung spüren zu lassen und Bewegung mitten ins Zentrum der Bewegungslosigkeit zu bringen. Es braucht nicht extra gesagt zu werden, dass diese Musik dem Reich der Träume angehört, Musik für den Geist ist, abstrakt und dennoch ganz präsent und somit auch ganz konkret. Die beiden Gitarristen begeben sich auf die Suche nach dem Klang, wüten dabei mitunter recht heftig, doch nie länger als einen kurzen Augenblick, die meiste Zeit verläuft die Reise kontemplativ. So wie meditative Praktiken das Hier und Jetzt fokussieren, lassen auch O'Rourke und Connors den Klang sich einfach ereignen und geben ihm dadurch all die Zeit und den Raum, den er braucht, um sich zu entfalten, Welle auf Welle, eine wie die andere und doch alle verschieden. Figurativ und nicht-figurativ, geradezu asiatisch in ihrer Reduziertheit, und doch tief und fest in der amerikanischen Landschaft verwurzelt, inspiriert diese Musik auch zu folgendem Gedanken: Hätte John Cage jemals Country-Musik komponiert, sie hätte bestimmt so geklungen … – Thierry Jousse Review: The music here is sparse and certainly experimental, but it's melodic and easy to listen to, as well -- a concept not encountered in most contemporary avantgarde music. At times, it's easy to get lost in the guitar drones, but this is a record well worth waiting for. – Marc Gilman, All Music Guide, 2000 hatOLOGY 690 Marc Copland Trio Haunted Heart with Drew Gress, double bass and Rochen Rueckert, drums Remastered and redesigned Barcode 752156069027 Playing ballads is, in many ways, the ultimate musical challenge. A ballad is like a window into the soul of the artist. From the first note, it must be approached with true and honest feeling, and a sense of openness. At the beginning of a musician's journey, one tends to believe that playing fast is difficult; as that journey progresses, one realizes that playing slowly is much more difficult. Musical values that are important elsewhere, are here absolutely essential: sensitivity, color, dynamics, economy, and clarity. We hope that in opening our hearts, we have touched yours. – Marc Coplan Interpréter des ballades est, par bien des côtés, le défi musical par excellence. Une ballade est comme une fenêtre ouverte sur l'âme de l'artiste : elle doit être approchée dès la première note avec un sentiment vrai et honnête, un sens de la franchise. Au début de son parcours, le musicien tend à croire que le plus difficile est de jouer avec rapidité; au fil de ce parcours, il réalise que jouer lentement est un bien plus grand défi. Les valeurs musicales qui sont importantes ailleurs, sont là absolument essentielles : sensibilité, couleur, nuance, sobriété et limpidité. Nous espérons qu'en ouvrant nos cœurs, nous auront touché le vôtre. – Marc Copland Balladen zu spielen ist in vieler Hinsicht die größte musikalische Herausforderung. Eine Ballade ist wie ein Fenster, das in die Seele des Künstlers blicken lässt. Von der ersten Note an muss man sich ihr mit wahrhaftigen, aufrichtigen Gefühlen und offenen Sinnes nähern. Wenn man seine Reise als Musiker antritt, neigt man dazu, zu glauben, dass es schwer ist, schnell zu spielen; im Verlaufe dieser Reise erkennt man allerdings, dass es noch viel schwerer ist, langsam zu spielen. Musikalische Werte, die anderwärts wichtig sind, sind hier absolut essentiell: Sensitivität, Farbe, Dynamik, Sparsamkeit und Klarheit. Indem wir unsere Herzen geöffnet haben, hoffen wir, die Ihren zu berühren. – Marc Copland Reviews: The poet of the piano....................................Repertoire A quiet giant.......the stuff of legend..............allaboutjazz.com The discovery of the year..............................Die Zeit Best regards, Werner X. Uehlinger Hat Hut Records LTD. Box 521 4020 Basel, Switzerland wxu.hathut.com@bluewin.ch <mailto:wxu.hathut.com@bluewin.ch> Phone +41.61.373.0773 http://www.hathut.com <http://www.hathut.com> The Journey Continues the 36th Year too! Since 1975, an ear to the future Depuis 1975, une oreille vers le futur Seit 1975, ein Ohr in die Zukunft

You are correct. One should never use a flash during the concert. It means needing a faster lens, or a digital camera that will allow itself to be set at 1600 ASA. Not true of many. Mine maxes at 400 ASA.

The line at the end of that story was more interesting to me: "Concord said last week it would buy the roots label Rounder Records, home to bluegrass musician Alison Krauss." Concord is buying up a lot of labels...

From Jonathan Horwich, after a communication from Werner at Hat. "I was able to salvage the Carter/Bradford Seeking tapes I had copies of and Mosaic Records here is going to put out a 3 CD set of Carter/Bradford of all of their work for Revelation including the 6 cuts from Seeking plus bonus tracks I found, plus Secrets, plus a recording I did of them in LA in 1979 ." "The set is coming out for sure. We've just finished the mastering of the 3 CDs from the original masters. This is all of the Revelation material of Carter and Bradford. One of the CDs has never been heard as I recorded it in LA in 1979. Duet stuff done in Westlake Studios. Wonderful music and rapport. The whole set is killer music. Some of it is just mind blowing when Carter gets going on tenor of all things." "Basically three CD select set of all of the Revelation material. First disc = vinyl Seeking plus three bonus tracks. I am not sure if the bonus material isn't as good as the main vinyl tracks. Anyway Disc 2 is vinyl Secrets plus bonus tracks. Disc 3 is the Westlake session I did." That's John Carter & Bobby Bradford. Thus ruining the joke further down...