Adam

How about this, coming out in a couple of days: http://www.amazon.com/Sweet-Exorcist-Got-F...364&sr=8-16 Also, I have that book Higher Ground but haven't read it yet. Saw Werner present it at teh LA Times Boko Fair at a panel on music writing and bought it afterwards.

up for tonight

Definitely at the Vanguard. Will possibly go on Friday night.

I have none of those Tyner albums (maybe on on a CD-r, but that would be it). So it seems like a reasonable purchase for me.

Up once, for the screenings at Anthology Film Archives in NYC this week. I hope some of you might come on down! I'll be at the Thursday, Friday, and Saturday 8 pm shows. Probably see some jazz after the Friday night show at the Stone or the Vanguard.

up

i didn't even know these new coins were coming out. I think the error was just a way to come up with some press for thee release.

The Cecil Taylor trio (the new AHA 3) w/ Henry Grimes and Pheeroan akLaff; also John Zorn with Dave Douglas, Greg Cohen, and Joey Baron (Masada), at Lincoln Center for the Performing Arts, Rose Theatre, Broadway at 6Oth St., New York City, 8 p.m., 212-546-2656, www.lincolncenter.org, www.jalc.org/concerts/details.asp?EventID=952, tickets from the site, at the Rose Hall box office at 6Oth St. and Broadway, or from CenterCharge, 212-721-65OO. I can't believe I'm going to miss that by 3 days. Anything as interesting as that going on on March 16 or so in NYC? A

I saw them live at UCLA (opening for, uh, The Bad Plus?), and I have the album that Rudd did with them. I like it; I also tend to have a thing for jazz - Asian music fusions (is it fusion? Maybe syncretism?)

Official notice. "The Old, Weird America: Harry Smith's Anthology of American Folk Music" will have its New York premiere on Thursday, March 15th, 8:00 p.m. at Anthology Film Archives, 32 Second Ave (@ 2nd St). We will have a reception in the Anthology lobby immediately afterwards. I would like to invite you to join us that evening and attend the Thursday screening (or any of the nights you're available). I hope you all can make it to one of the shows! Harry Smith was the collector and annotator of the original Anthology of American Folk Music, issed by Folkways in 1952, and reissued on CD by Smithsonian Folkways in 1997. The film is primarily about the Anthology, Harry's relationship to it, and its influence on the folk revival of the 1960s and on musicians since then. Included are healthy chunks of footage from concerts organized by Hal Willner to celebrate the Anthology's reissue. The concerts were held in London, NY, and LA in 1999 and 2001 and feature performers as varied as Don Byron, Percy Heath, Roswell Rudd, Sonic Youth, Nick Cave, Lou Reed, Beth Orton, Kate & Anna McGarrigle, David Thomas (of Pere Ubu), Beck, Geoff Muldaur, Elvis Costello, and John Sebastian. The film will also screen Friday and Saturday evenings at 8:00 pm and Sunday at 5:00. This is part of a larger series of Harry Smith's complete oeuvre taking place March 14 - 18th at Anthology Film Archives. MAGIC IN MUSIC AND MOTION: THE SIGHTS AND SOUNDS OF HARRY SMITH All screenings at Anthology Film Archives, New York http://www.anthologyfilmarchives.org/index.php Artist, Animator, Ethnographer, Alchemist – Harry Smith (1923-1991) was all this and much more. An utterly remarkable character who produced an eccentric, electrifying body of work, Smith’s legacy and influence continue to be felt across a wide spectrum. Anthology and Harry go way back (he was our Artist-In-Residence) and it has been our mission over the years to promote and preserve his myriad achievements and undertakings in film and beyond. At the heart of this series is a one-week run of our brand new preservation of Smith’s most fully realized work, FILM NO. 12: HEAVEN AND EARTH MAGIC. Rani Singh, Director of the Harry Smith Archives, will be on hand to present her recently completed documentary THE OLD, WEIRD AMERICA: HARRY SMITH’S ANTHOLOGY OF AMERICAN FOLK MUSIC. In addition, we are presenting 2 screenings of Smith’s epic, the incomparable MAHAGONNY. And finally, there will be an Essential Cinema program of Smith’s short film wonders. To learn more about Harry Smith, visit The Harry Smith Archives: www.harrysmitharchives.com Thursday, March 15 through Saturday, March 17 at 8:00 nightly and Sunday, March 18 at 5:00. NEW YORK PREMIERE! FILMMAKER IN PERSON! Rani Singh THE OLD, WEIRD AMERICA: HARRY SMITH’S ANTHOLOGY OF AMERICAN FOLK MUSIC 2006, 90 minutes, video, color, sound. Produced by Adam Hyman and The Harry Smith Archives. Prepare for an eclectic journey through THE OLD, WEIRD AMERICA. Rani Singh's new documentary film tracks the history of Harry Smith's ANTHOLOGY OF AMERICAN FOLK MUSIC from its initial compilation of 78rpm records from rural Americana to its release on Folkways Records in 1952. Instrumental in helping inspire the urban folk revival of the 1960s, the ANTHOLOGY continues to influence modern music. An incredible set of interviewees reveal the lasting impact of the ANTHOLOGY and the remarkable personality of Harry Smith. After the box-set’s release on CD in 1997, Hal Willner’s Harry Smith Project concerts celebrated Smith’s idiosyncratic vision, from Nick Cave’s cathartic take on spirituals to Lou Reed’s mesmerizing evocation of Blind Lemon Jefferson. The film includes rare archival footage, performances, and interviews with Elvis Costello, Beck, Sonic Youth, Beth Orton, Philip Glass, David Johansen, John Cohen, Greil Marcus, and more. Join us for a wild ride through a remarkable musical landscape. Wednesday, March 14 at 7:30. ONE NIGHT ONLY! HEAVEN AND EARTH MAGIC WITH LIVE SLIDE & GEL PERFORMANCE! Harry Smith NO 12: HEAVEN AND EARTH MAGIC 1957-62, 66 minutes, 16mm. Newly preserved with support from the National Film Preservation Foundation. Preservation work by Cineric, Inc. For the opening night screening of the preserved print of HEAVEN AND EARTH MAGIC, The Harry Smith Archives and M. Henry Jones will present a live performance with specially designed slides, colored gels and maskings. Smith showed the film with its special projection set-up only once, in the late-1950s at Carnegie Hall, New York City on a specially built projector. This show involved the use of colored gels and slide overlays to create a vividly colored presentation that had the strong feel of a magic lantern show with an animated shadow play at its center. It is characteristic of Smith to have created this antiquated form of color presentation, very much akin to the tinting and toning of silent films, rather than naturalistic color. With the slides and gels, HEAVEN AND EARTH MAGIC regains its aboriginal character as an alchemical séance. Wednesday, March 14 through Tuesday, March 20 at 7:30 nightly. Additional screenings on Saturday and Sunday at 5:30. Harry Smith NO 12: HEAVEN AND EARTH MAGIC 1957-62, 66 minutes, 16mm. Newly preserved with support from the National Film Preservation Foundation. Preservation work by Cineric, Inc. A masterpiece like none other, HEAVEN AND EARTH MAGIC is a fever-dream collage animation of inexplicable depth and illogical means. Beautiful to behold and bizarrely baroque, Smith toiled for years to create the surreal images and musique concrète soundtrack contained herein. Surprisingly, Smith never made a negative for this milestone of underground cinema. Following nearly two years worth of work, we are thrilled to present this pristine new copy that was made from the earliest existing print. All attempts at a rational description fail when compared with Smith’s own explanation: “The first part depicts the heroine’s toothache consequent to the loss of a valuable watermelon, her dentistry and transportation to heaven. Next follows an elaborate exposition of the heavenly land in terms of Israel, Montreal and the second part depicts the return to earth from being eaten by Max Muller on the day Edward the Seventh dedicated the Great Sewer of London.” "NO. 12 can be seen as one moment – certainly the most elaborately crafted moment – of the single alchemical film which is Harry Smith’s life work. In its seriousness, its austerity, it is one of the strangest and most fascinating landmarks in the history of cinema.” –P. Adams Sitney Saturday and Sunday, March 17 & 18 at 3:30. ESSENTIAL CINEMA Harry Smith EARLY ABSTRACTIONS (1941-57, 23 minutes) MIRROR ANIMATIONS (1957, 4 minutes) LATE SUPERIMPOSITIONS (1964, 28 minutes) OZ, THE TIN WOODMAN’S DREAM (1967, 15 minutes) All works preserved by Anthology Film Archives. For a description of these films, see the entry in the ESSENTIAL CINEMA section on page 3. Saturday, March 17 at 5:00 and Sunday, March 18 at 7:00. Harry Smith FILM #18: MAHAGONNY 1970-1980, 141 minutes, 35mm, color, sound. Preservation work undertaken by Cineric, Inc., with support from The Andy Warhol Foundation for the Visual Arts, the National Endowment for the Arts, New York State Council on the Arts, Sony Entertainment, the National Film Preservation Foundation, The Getty Research Institute and The Harry Smith Archives. This restoration has been a joint project of Anthology Film Archives and the Harry Smith Archives. Smith worked obsessively on MAHAGONNY for over ten years, shooting it from 1970-72 and editing it from 1972-80. Based on the Kurt Weill and Bertolt Brecht opera RISE AND FALL OF THE CITY OF MAHAGONNY, the film was an epic, four-screen projection which the filmmaker considered to be his magnum opus and described as a mathematical analysis of Marcel Duchamp's “Large Glass.” MAHAGONNY is an allegory of contemporary life; it explores the needs and desires of man amid the rituals of daily life in New York City. Smith's New York, like Brecht’s Mahagonny, is a place where everything is permitted and the only sin is not having enough money. Much of the film takes place within the Chelsea Hotel and contains invaluable portraits of important scenesters such as Allen Ginsberg, Patti Smith and Jonas Mekas. These appearances are intercut with installation pieces from Robert Mapplethorpe's studio, New York City landmarks of the era, and Smith's unique, visionary animation. This 35mm print represents the completion of an ambitious preservation project by Anthology Film Archives and The Harry Smith Archives. The film was originally shown ten times at Anthology in 1980 on four 16mm projectors with the filmmaker present at each screening. This recently restored print is a composite of all four original 16mm masters (and the Weill soundtrack) that have been optically printed into a single “tiled” 35mm film image.

Cool. I'll catch you atCafe Metropol if I'm in town. There's a good chance that I will be at the Florida Film Festival.

On Blue Note, and not on Revenge Records, or whatever Sue's label is called... A good sign?

Go to the top of the page, and in the "Search Music" box, enter Sly and choose CD universe from the drop down box on the right. It will take you to Sly's music on CD universe and you'll be supporting the band if you decide to make the purchase. Thanks! What if one just adds things to one's wish list for later?

Here's an article with info on the bonus tracks: http://www.billboard.com/bbcom/news/articl...t_id=1003528000

PLease remind me how the organissimo link works...

I like the Max Nagl disc.

I've never heard of shipping the LP outside the sleeve, nor have I ever received any like that. If packed in a box correctly, how could shipping inside the sleeve lead to seam splitting. And what about the protection of the LP? Isn't it more likely to crack or scratch en route if shipped outside the sleeve? (From someone who obviously doesn't trade much in vinyl.)

I guess I forgot to add a smiley. But seriously, it is tragic if it's the end of the program.

Buried in one article is that in the original legislation for satellite radio is a proviso that forbids only one satellite station. This element would have to be overruled by Congress for the merger to be allowed. I would say that the merger is not a sure thing. As for your other question - you answer your question in your answer, so I'm unclear why you are confused. Satellite radio involves terrestrial airwaves. That's why it's called satellite radio. Cable television runs through cables underground. Satellitle radio uses waves to beam down the sound from the sky. Thus, it completely falls within the purview of the "public airwaves." Our government allows that trust to be administered by the FCC. A more legitimate question is why the FCC doesn't really work for the public good, but for corporate interests. Broadcasting also uses airwaves, and is controlled in similar fashion.

There must be no more blues records to be reissued.

These look great. Thanks!

I went to Blue Note Records in Amsterdam and finally saw these sets. I picked up #2 (1944-1951) since I was buying some other good Dutch jazz as well, but now I'm listening to disc 11 (the first disc in box 2) and it's really quite burning. They had the vocals ones and the piano one there as well, and up through 1956, all for 50 Euro each (I think). That article to which Tom Storer linked in the second post is a very nice accounting of teh series. Here's that link again: http://www.livingwithmusic.com/index.php/m...resors_du_jazz/

I'm back from the road and sick in bed but now might be able to contribute properly to my own thread. I saw Carla perform Red-Headed Stranger with Cline on guitar & Amendola on drums at Spaceland. Does that count? That was a great show, and the one that sold me on Bozulich, whom I knew previously just through the Geraldine Fibbers. But I haven't seen her since then.

I'll be in NYC in March for the Harry Smith screening at Anthology. The director of the film, Rani Singh, runs the Harry Smith Archives. I am in contact with her all the time. PM me and I'll hook you up, no problem.

Operation Homecoming will also be playing at the UCLA Film & TV Archive on Monday night, Feb 12, at 7:30, for any Angelenos.