Adam

Just received this email below. I think Blue Note is doing something clever here by presenting real jazz, including from advanced material, as part of Bonnaroo, whcih is arguably one of the two leading current music festivals in the US. Maybe they can do this at Coachella next year. And most of them aren't even Blue Note acts. ------------------------------------- Blue Note Records and Ropeadope have teamed up to launch The Finest In Jazz, a new line of apparel and compilation albums that celebrate the music and image of such classic Blue Note artists as Thelonious Monk, Jimmy Smith, Grant Green and Lee Morgan. Blue Note has also released The Finest In Jazz compilation albums for each of these four artists. The collection, has a consistent visual design with the apparel, aim to present a compelling introduction to the deep bodies of work that Monk, Smith, Green and Morgan recorded for Blue Note. Visit www.thefinestinjazz.com for more info. ------------------------------------------------------------------------ SOMETHING NEW, SOMETHIN' BLUE, SOMETHIN' ELSE Blue Note Records presents The Finest in Jazz performing at BONNAROO 2007 Blue Note Records and Bonnaroo are proud to announce that they will team to present Somethin' Else, a dedicated Jazz club curated by Blue Note Records at the 2007 Bonnaroo Music and Arts Festival. The sixth annual four-day camping and music festival will be held on June 14-17, 2007, on the same 700-acre farm in Manchester, Tennessee, 60 miles south of Nashville. The first event of its kind, Somethin' Else aims to create an authentic Jazz club atmosphere in the middle of the largest outdoor rock festival in the United States, and to introduce the Bonnaroo audience to Jazz through live performances by legendary and up-and-coming artists, panel discussions about Jazz History, and exhibits of classic Blue Note Records photography and album artwork. The legendary jazz label along with festival organizers selected an outstanding line-up from the Blue Note Records artist roster and beyond. Performers will include legendary artists such as saxophonist Lou Donaldson and Hammond B3 organist Dr. Lonnie Smith, established artists such as pianist Jacky Terrasson, vibraphonist Stefon Harris, clarinetist Don Byron, and saxophonist Ravi Coltrane, up-and-comers such as pianist Robert Glasper and guitarist Lionel Loueke, and crossover artists such as the Scott Amendola Band featuring Nels Cline, Stanton Moore, Mago featuring Billy Martin and John Medeski, and The Philadelphia Experiment featuring Ahmir Thompson, Christian McBride, Uri Caine. DownBeat magazine will also present afternoon panel discussions on the Somethin' Else stage in between music sets on June 15 and 16, with various prominent musicians from the Jazz world and beyond discussing the music and its legendary figures, including Charlie Parker, Miles Davis, Thelonious Monk, and John Coltrane. SOMETHIN' ELSE 2007 LINE-UP: SCOTT AMENDOLA BAND feat. NELS CLINE DON BYRON PLAYS JUNIOR WALKER feat. CHRIS THOMAS KING RAVI COLTRANE QUARTET LOU DONALDSON & DR. LONNIE SMITH QUARTET ROBERT GLASPER TRIO STEFON HARRIS & BLACKOUT LIONEL LOUEKE MAGO feat. BILLY MARTIN & JOHN MEDESKI STANTON MOORE TRIO DAVID MURRAY QUARTET THE PHILADELPHIA EXPERIMENT feat. AHMIR THOMPSON, CHRISTIAN McBRIDE, URI CAINE JACKY TERRASSON TRIO DOUG WAMBLE TRIO Visit www.bluenote.com/bonnaroo for set times and more! ------------------------------------------------------------------------ Edited to remove non-Bonnaroo material.

This one is actually cheaper at CD Universe than in the Jazz Loft sale. There are some scattered Steeplechase CDs for $11 or $12 at CD Universe, but I can discern no logic to which ones.

Black artist aren't laughing: Today's SF Chronicle has the remarkable story of the exclusion of Black folks from jazz. The problem of race in this country is deeper than we imagined. JAZZ FANS DECRY EXCLUSION Few African American musicians booked for Berkeley festival, none on Yoshi's anniversary CD By Leslie Fulbright, Chronicle Staff Writer Friday, June 1, 2007 This article appeared on page A - 1 of the San Francisco Chronicle "It really gets me upset that people like Norah Jones (who is white and East Indian) get pushed through with heavy marketing when there are dozens of African American female jazz vocalists who, in my opinion, are 10 times better," he said. "I'm not sure if the exclusion is intended or an honest overlook, but we created jazz and we are still playing it, so we should not be overlooked." The Equal Justice Society (www.equaljusticesociety.org) is a national advocacy organization strategically advancing social and racial justice through law and public policy, communications and the arts, and alliance building. Equal Justice Society, 220 Sansome St, 14th Flr, San Francisco, CA 94104, Ph (415) 288-8700 Well, if he's considering norah Jones as jazz, then sure there are problems.

Adam, There are a many many good things on Steeplechase. Here are just a few that I would recommend. George Cables - Bluesology Junior Cook - On A misty night Stanley Cowell - Sienna Walter Davis,Jr. - Scorpio Rising Kenny Drew - Black Beauty Jimmy Knepper (with Al Cohn) - Cunningbird Horace Parlan - Glad I Met Pat Currently in my cart: Brew Moore Zonky Walt Dickerson Visions Johnny Dyani Song For Biko Chet Baker Daybreak Johnny Dyani / Mal Waldron Some Jive Ass Boer (not Steeplechase) Dexter Gordon Stable Mable Dexter Gordon Something Different Von Freeman Never Let Me Go Paul Bley Paul Plays Carla John Tchicai Real Tchicai Any thoughts on changes? I'll probably drop one Dexter, maybe add the Cowell. I have one Horace Parlan on Steeplechase, so wasn't going to get one now.

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The Jazz Loft is currently having a sale for Steeplchase for 13.99. Gonna get me a few, but I don't know which few - they have hundreds! One of those Chet Baker, a Dexter Gordon, Paul Bley. Any other suggestions? I'll scan some Steeplechase threads. Ah, Johnny Dyani! Opinions on any of the George Cables? How about some of the European-led sessions by folks whom I've never heard of?

Hi Allen, But are you selling this one yet yourself? Seriously, how much? Paypal? A

So you should have moved earlier and then maybe the real set would be still in print and you wouldn't have to buy from scavengers. The real problem is people with the money "hold back" for a deal. Now reward someone else. :-) No, I just prioritized the Carnegie Hall and Capitol Trios over this.

Thank you for the input Chuck. I also would prefer to buy the original instead of a rip-off label. Isn't this a perfect example of a problem of the day? In-print affordable rip-off label vs OOP more expensive real label? Sigh. It's been on my "to get" list for years.

I upgraded, and I've tried to download Andrew Hill's Time Lines, but it has not yet been able to successfully download. It gets stuck every time.

The image didn't come through for me...is it this one? (see below) That's the one. Jazz Loft is having a sale this week that includes the Definitive 2-disc edition of these sides, whcih does not seem to include the 20 alternate takes from the RCA version. http://ssl.adhost.com/jazzloft/baskets/pos.cfm?cd=9972 The RCA version seems to be out of print, with some used copies available, starting at $42.00 on Amazon at least. So I'm considering the Definitive. Does anyone have the Definitive edition? Are there really excellent notes on the RCA version? How essential are the alternates? I'm not one who needs alts generally.

What the heck was "Sukiyaki" by Kyu Sakamoto?

Yes, I went to that show at Royce Hall. Lots of talking and awards, and a little music thrown in. I think the Variety review is pretty accurate.

I thought I'd read that the US Postal Service discontinued international ground shipping as part of the changes made when they implemented the recent rate hike. That seems to be borne out by their online rate calculator: USPS Postage Rate Calculator Yes, this is true, from a recent visit to the good ol' PO.

Dear Friend, Available end of June 2007: Expected to come back since years! The Summer music! Hans Kennel Mytha : How It All Started Alphorn Quartet & Orchestra hatOLOGY 648 (remastered, compilation of 2 out of print hatART CDs, ADD) Total Time 78:45 DDD, Barcode: 752156064824 Mytha in this sense attempted the opposite of a reconstruction of Alpine roots. The energy of the music of this (at times extended) alphorn quartet hasn’t diminished since its first CD was released in 1991. Hans Kennel is a leading expert on folk tradition, in particular on that of Central Switzerland. His interest, however, does not stem from ethnomusicological hunting and gathering practices but from a living experience with music, both improvised and other kinds. In his approach, distance and emotion are equally involved. The many English titles are not used to jazz up something old or familiar; on the contrary, they are used to eschew ingratiation, or arrogance that here we have jazz musicians coming to show the Alpine folks what traditional music really sounds like. As for the original titles, they are meant as reverence: for the Muotatal (Muota Valley) Kennel knows like the back of his hand; for Martin Christen, the doyen of the Swiss alphorn Renaissance, who already in the forties of the last century because of his polyphonic experiments had to fight against the narrow-mindedness of the self-appointed guardians of the Holy Grail of Swiss folklore; or for Hans-Jürg Sommer, the most important composer in the field of “traditional” alphorn playing. You are mistaken if you believe that the traditional alphorn players ignore what Kennel set in motion. It’s the national associations that are inflexible, or at least almost immovable, and still regard themselves as the custodians of tradition, of so-called time-honoured, localised customs. – Peter Rüedi "Mytha" a tenté l’inverse d'une reconstruction des racines pastorales alpines. La musique de ce quartette de cors des Alpes (élargi à l’occasion) est tout aussi pleine d’énergie que lors de la parution de son premier CD en 1991. Hans Kennel est un grand connaisseur de la tradition musicale populaire, notamment de Suisse centrale. Son intérêt néanmoins n’est pas né de recherches et collections d'ethnologie musicale, mais d’une expérience vivante de la musique, improvisée ou autre. Distance et émotion y occupent une même vraie place. Les nombreux titres anglais n’ont pas été choisis pour mettre au goût du jour l’ancien et le familier, mais au contraire pour écarter toute idée de flatterie ou d’arrogance de la part de musiciens de jazz qui tenteraient de montrer aux populations des Alpes ce qu’est la véritable musique traditionnelle. Quant aux titres d’origine, ils se veulent révérencieux: à l’égard du Muotatal que Kennel connaît parfaitement; à l’égard de Martin Christen, le doyen de la renaissance suisse du cor des Alpes qui, déjà dans les années 40 du siècle dernier, a combattu avec ses expériences polyphoniques l'étroitesse d'esprit des protecteurs autoproclamés du Saint Graal de l'art populaire suisse; ou à l’égard de Hans Sommer, le plus important compositeur en matière de pratique musicale "traditionnelle" du cor des Alpes. Ce serait une erreur de croire que les joueurs traditionnels de cor des Alpes ignorent ce que Kennel a été le premier à initier. Seules les associations nationales se montrent inflexibles, ou pour le moins rigides, et se considèrent toujours comme les gardiennes de la tradition et de ses prétendus us et coutumes. – Peter Rüedi "Mytha" versuchte das Gegenteil von Rekonstruktion alpiner roots. Die Musik dieses (gelegentlich erweiterten) Alphorn-Quartetts ist in ihrer Energie so ungebrochen wie bei Erscheinen seiner ersten CD 1991. Hans Kennel ist ein grosser Kenner der volksmusikalischen Tradition namentlich der Innerschweiz. Aber sein Interesse stammt nicht aus einem musikethnologischen Jäger- und Sammlertum, sondern aus der lebendigen Erfahrung von Musik, improvisierter und anderer. Distanz und Emotion sind daran gleichermassen beteiligt. Mit den vielen englischen Titeln wird nicht etwas Altes oder Vertrautes aufgemotzt, sondern im Gegenteil Anbiederung vermieden, oder Arroganz: dass nun da Jazzer kämen, den Älplern zu zeigen, was wahre Volksmusik sei. Die originalen Titel aber sind gedacht als Reverenzen, an das Kennel besonders vertraute Muotatal, an Martin Christen, den Doyen der Schweizer Alphorn-Renaissance, der mit seinen mehrstimmigen Experimenten schon in den vierziger Jahren des letzten Jahrhunderts gegen die Borniertheit der selbsternannten Gralshüter der Schweizer Volkskunst zu End of July 2007: Mike Westbrook Orchestra, On Duke's Birthday Recorded live May 12th, 1984 Le Grand ThÈ‚tre, Maison de la Culture, Amiens hatOLOGY 635 (reissue, remastered, AAD) End of August 2007: Two masterpieces from Jazzfestival Willisau 1979: Oliver Lake Trio : Zaki Oliver Lake - alto, tenor & soprano saxophones Michael Gregory Jackson - electric guitar Pheeroan akLaff -drums hatOLOGY 639 (reissue, remastered, AAD) & Anthony Braxton : Performance (Quartet) 1979 Anthony Braxton - alto & soprano saxophones, clarinet & contrabass clarinet Ray Anderson - trombone, alto trombone & little instruments John Lindberg - double bass Thurman Barker - percussion, xylophone & gongs hatOLOGY 610 (reissue, AAD) Best regards, Werner X. Uehlinger Werner X. Uehlinger Hat Hut Records LTD. Box 521, 4020 Basel, Switzerland wxu.hathut.com@bluewin.ch Phone +41.61.373.0773 http://www.hathut.com The Journey Continues the 33rd Year too! Hat Hut Records Ltd. benefits from its partnership with the Fondation NestlÈ pour l'Art, Lausanne. This e-mail message together with its attachments, if any, is confidential and may contain information subject to legal privilege. The confidentiality and integrity of e-mail communication cannot be guaranteed.

NY Times, actually: http://www.nytimes.com/2007/05/22/movies/2...amp;oref=slogin Top Directors See the Future, and They Say It’s in 3-D By SHARON WAXMAN Published: May 22, 2007 Correction Appended LOS ANGELES, May 21 — If some prominent Hollywood directors and an Irish rock band have their way, moviegoers en masse will soon be heading back to the future, wearing newfangled 3-D glasses. The comicbook hero Tintin (on bike) will be the subject of a 3-D trilogy. Last week the next phase in the theatrical viewing experience took a significant leap forward, as Steven Spielberg and Peter Jackson signed on to direct and produce for Paramount’s DreamWorks Studios a trilogy of 3-D movies about the intrepid Belgian comic-book hero Tintin. And on Saturday nearly an hour of footage from the 3-D concert film of the Irish rock band U2 made its debut at the Cannes Film Festival. As “U2 3D” demonstrates, this is definitely not the 3-D of drive-in memories. The concert film gives the audience the palpable experience of being present, as the camera swivels around Bono’s face, then soars over and down among the 60,000 concertgoers. And though the new version still requires audience members to wear glasses, they are not the old red-and-green variety but sleek black ones. “This is a different experience; it’s much more voyeuristic,” said Jon Landau, the producer of “Avatar,” James Cameron’s ambitious and expensive movie about a battle between humans and aliens, which is currently being shot in 3-D using a combination of computer animation and motion-capture technology. “The screen has always been an emotional barrier for audiences. Good 3-D makes the screen go away. It disappears, and you’re looking at a window into a world.” That view, however, isn’t completely clear yet. So far digital projection has been installed in only about 2,300 of the 37,000 theaters in the United States, with 3-D projection in just 700 of those. Theater owners have been slow to upgrade to expensive digital projectors, and it is an open question whether many American moviegoers will pay an extra dollar or two for tickets to 3-D films. The 3-D film first flourished in the early 1950s, when movies like “Bwana Devil,” “House of Wax” and Disney’s “Melody” introduced audiences to the delights and annoyances of donning special glasses. But because of a combination of technological complexities, eye fatigue and a lack of compelling feature-length movies, many of the 3-D films were horror or soft-core pornography, which kept the filmmaking format on the fringes of the mainstream. The emergence of Imax and the technological advances of the last few years, however, have piqued the interest of Hollywood’s top directors. Mr. Cameron, who made the 3-D Imax documentary “Ghosts of the Abyss” in 2003, is using motion capture technology and computer graphics to create realistic characters and fantasy worlds for “Avatar.” Twentieth Century Fox will release that film, with an estimated $200 million cost, in 2009, mainly in 3-D. (Mr. Landau said that Mr. Cameron wore 3-D glasses — the latest have plastic rims — to look at his daily footage.) Audiences, which have had a taste of the future in 3-D versions of children’s fare like “Monster House” and “Chicken Little,” will get another early blast of the experience in Robert Zemeckis’s adventure-drama “Beowulf,” to be released, wherever possible in 3-D, by Paramount and Warner Brothers in November. And DreamWorks Animation SKG has announced that all of its future movies will be shot in 3-D, for release beginning in 2009. “I believe that this is the single greatest opportunity for the moviegoing experience since the advent of color,” Jeffrey Katzenberg, the chief executive of DreamWorks Animation, said in an e-mail message. “It has been more than 60 years since there has been a significant enhancement or innovation to the moviegoing experience.” He predicted that starting in 2009, “a significant percentage of the big mainstream films will be made and exhibited in this format.” The widening embrace of 3-D by Hollywood’s leading directors and major studios comes at a critical moment for the movie industry, which faces expanding competition for leisure time from home theaters, the Internet and games. And it also solves, at least temporarily, the continuing pressures from the thriving trade in bootleg movies. A 3-D film cannot be recorded easily from a movie screen because the images are blurry to the naked eye. The push to 3-D may also be the impetus needed to spur movie exhibitors to switch from film projectors to digital ones, say industry executives. A digital projector can cost around $100,000, a sum that has proved prohibitive to many exhibitors. Adding the 3-D component, including the silver coating of the screen, costs about $20,000 more, but the added benefit is immediately visible, said Michael V. Lewis, chairman of Real-D, which dominates the 3-D projection business. There is already evidence of a box office payoff. “Meet the Robinsons,” an animated Disney film, was released in early April in 3,400 theaters, of which 600 (about 18 percent) were equipped with 3-D. The 3-D theaters brought in 30 percent of the box office revenue from the first weekend, according to Disney. And a 3-D version of “Polar Express” from 2004 has been released three years in a row in Imax theaters around the winter holidays, taking in $65 million. Greg Foster, the chairman and president of Imax Filmed Entertainment, warned that not all films were suited to the format. “Three-D isn’t a panacea — it isn’t a magic pill,” he said. “It’s a spectacular thing if it fits three specific criteria: Does it take you somewhere? Is it made by a visionary filmmaker? And is the concept behind the film organic to 3-D?” He added: “If you’re going to do 3-D because you need a gimmick to sell tickets, the audience is too smart for that.” Among films that have not worked well in 3-D were “Chicken Little” and “Ant Bully,” which were also not successful at the box office. The new projects aim to be more than mere gimmicks. Mr. Spielberg and Mr. Jackson have been working on the “Adventures of Tintin” project for about a year with Mr. Jackson’s special effects company, Weta Digital. Part of the decision-making process included a week of motion capture work on the “Avatar” set in the Playa Vista section of Los Angeles last November. That visual information was sent to Weta in New Zealand. There it was married to a computer model of Tintin, the young, red-haired Belgian adventurer of comic-book fame, who is wildly popular in Europe though less so in this country. The results persuaded both directors to push forward with the trilogy. Mr. Jackson is expected to direct the first film, Mr. Spielberg the second, with the director for the third undecided, according to a DreamWorks spokesman. There is as yet no start date for the first project. Mr. Spielberg and Mr. Jackson both declined to comment for this article. Stacey Snider, the co-chairwoman of DreamWorks, also declined. Mr. Jackson’s manager, Ken Kamins, said the director had long been fascinated with 3-D but until now had not been swayed by the ability to create a full-length feature experience. “Based on various tests he’s seen, he believes in the future of 3-D,” he said. “This is really starting to create some interesting imagery that gives the filmmaker a lot more creative license to play with.” To shoot the U2 concert film, the directors Catherine Owens and Mark Pellington placed about a dozen cameras throughout stadiums during the band’s concert tour in Latin America last year, and shot more than 100 hours of footage. The film, co-owned by the band and 3ality Digital, a 3-D movie production company, does not yet have a distributor, but the partners expect the film to reach theaters in the fall. Sandy Climan, chief executive of 3ality Digital Holdings, said the improved 3-D format would entice moviegoers eager for something new. Mr. Katzenberg agreed. He predicted that after 2009, “consumers will own their own 3-D glasses in the same way they have sunglasses for going outside.” Correction: May 26, 2007 An article in The Arts on Tuesday about plans for 3-D movies using new technology referred incorrectly to the showing of 3-D movies on DVDs. Such films can in fact be shown on DVDs, and have been.

The full story in regards to the films is they are planning to make 3 Tintin live action 3-D films, with Peter Jackson directing the first, Spielberg the second, and TBD the third. There was just a big story on it in, uh, the LA Times I believe.

Indeed, he did! Jack Lewis was the A&R man behind many of Victor's best jazz releases from the fifties. Yes, he did supervise the Jazz Workshop series, but judging by the nature of much of his less adventurous work for RCA, I think he essentially just OK'd the JW projects (for which he certainly deserves credit). The musical supervision, I'd bet, was pretty much in the hands of the respective composers-leaders: George Russell, Hal McKusick, et al. Again, I wouldn't mind having full access to the RCA/Jack Lewis jazz catalogue of the time and being able to pick and chose, but there was IMO an air of routine to the typical RCA date of the Lewis era. And when there was some welcome focus and spark, as on the Cohn-Perkins-Kamuca album, I suspect it came from the musicians taking things in their own hands far more than from Lewis. Another way to look at it is that the RCA/Lewis material was essentially a byproduct of the relatively flush NYC recording studio scene of the mid-1950s, when guys like Milt Hinton, Osie Johnson, Al Cohn, Nick Travis, Barry Galbraith, Bernie Glow, Billy Byers, Manny Albam, etc. were playing in and/or writing for a floating studio big band that found itself in whole or in part in recording studios on dates of all kinds as often as 16 or more hours a day. Thus an air of the routine was almost inevitable when those guys assembled, though it could be broken through. I would say that the vast majority of the guys who recorded for RCA were drawn from that pool of musicians, with the exception of actual Basie-ites like Joe Newman, Thad Jones, Henry Coker, etc., and the West Coast people that RCA recorded (who were of course drawn from the LA equivalent to the NYC studio scene -- though I don't know if Lewis was the A&R man for the West Coast material). What potential Mosaics are in all that material?

The Byrds box, whatever it's called.

I'm flying up to Seattle today for a couple of days. Any shows?

Yes, you should get the book The Dark Tree. What year is the material on West Coast Hot? 69? All the Nimbus material is later.

I have this also. Like the R. Crumb artwork too. Isn't Crumb in the band?

I thought it was still in print... The following Criterion DVD releases are out of print. Title Director Country Year Spine # The Bank Dick Cline, Edward USA 1940 78 Blood for Dracula Morrissey, Paul USA 1974 28 Dead Ringers Cronenberg, David Canada/USA 1988 21 Flesh for Frankenstein Morrissey, Paul USA 1973 27 Hard Boiled Woo, John Hong Kong 1992 9 How to Get Ahead in Advertising Robinson, Bruce UK 1988 120 The Killer Woo, John Hong Kong 1989 8 Notorious Hitchcock, Alfred USA 1946 137 Playtime Tati, Jacques France 1967 112 Rebecca Hitchcock, Alfred USA 1940 135 RoboCop Verhoeven, Paul USA 1987 23 Salò Pasolini, Pier Paolo Italy 1975 17 Sid & Nancy Cox, Alex UK/USA 1986 20 Silence of the Lambs Demme, Jonathan USA 1990 13 Spellbound Hitchcock, Alfred USA 1945 136 Straw Dogs Peckinpah, Sam USA 1971 182 This is Spinal Tap Reiner, Rob USA 1984 12 The Unbearable Lightness of Being Kaufman, Philip USA 1988 55 Playtime is new & improved and back in print.

I thought he said all you needed was an ape and an AK-47. I also think that WR is the film in question. Also be sure to check out Sweet Movie. And then check out Amos Vogel's book Film As a Subversive Art, whcih features that same still from WR on the cover. http://www.amazon.com/Film-Subversive-Art-...5763&sr=8-1