Adam

One reason is that, as far as I understand it, Ace has actually bought the masters for several labels - definitely a couple of the smaller Los Angeles-based R&B labels, so they really can do them right. A shame that no company in America was up for obtaining this important music, but at least Ace does right by it.

I'm doing a documentary on Big Jay. Followed him on a Europe tour last summer. Need to raise money to finish it. But he's playing on a cruise this week; to Chicago next week. Been filming with him a lot, but not for a while. He just turned 85. Check out the site on the film: www.bigjayfilm.com

Just received: Dear Friend, John Cage turns 100 in 2012, and all manner of events are underway for a worldwide celebration. Check out this aspect of johncage.org for breaking news about events in the works – music, poetry, theater, happenings, visual art exhibitions, publications, and more -- and for an ever-expanding calendar of events, to which we contribute 3 CD releaes this year. Two CDs this Spring 2012 and one CD during Fall 2012. May 25, 2012 releases: hat(now)ART 152 John Cage (1912 - 1992) Sonatas & Interludes (1946 - 1948) James Tenney piano (new) 7 52156 015222 hat(now)ART 186 Katharina Rosenberger (1971) TEXTUREN (2007 - 2011) Wet Ink Ensemble (new) 7 52156 018629 June 15, 2012 releases: hat(now)ART 173 John Cage (1912 - 1992) Music Of Changes (1951) David Tudor piano (remastered rerelease) 7 52156 017325 hat(now)ART 181 Makrokosmos Quartet Round Midnight 7 52156 018124 With kind regards, Werner X. Uehlinger Hat Hut Records LTD.

I'll try to ask Steve Isoardi about those recordings and their current status.

I did go to Havana in December 2000. We might have met in NYC as well, but when would that have been? I've been on this board since the start pretty much.

The second one is very good. Addresses the wider African-American arts scene of the period, positioning Tapscott and UMGAA within that, with similarities in philosophy and methodology with writers and other artists.

Which sister? The one I knew, Elaine Dundy, died a few years ago. Betty Lorwin Thank you. I never communicated with her.

Which sister? The one I knew, Elaine Dundy, died a few years ago.

Ah, heck. I had a long phone conversation with him last year, and he was quite the thoughtful and unusual character.

Hooray!

There we go; the next 4. I have a few of the Billy Bang albums but only one of the Abrams. I do have the George Russell box and have been pretty pleased with that purchased.

I hope they might still do a Muhal Richard Abrams box.

Hi, An opinion. I've never heard of Joe Daley before. And I'm not totally ignorant. Would I sample one CD based on board recommendations? Sure. Would I buy a $50 box set of someone whom I'm never heard of? Not a chance. I honestly would say that without a marketing campaign, you need to start with a single CD release. If that goes well, release an additional double, or two more singles. I would buy almost any single release you put out, like I bought the Hemphill & Dixon.

The played at the Blue Whale in Los Angeles last night. I got there late, and there was a line to get in to the at-capacity venue. I didn't stick it out, so didn't see them live. Bu it was reassuring to see such a turnout.

Sidney Bechet, "Blue Horizon"

Dear Friend, February 15, 2012 the following new CD: hatLOGY 709 Marco von Orelli 6 Close Ties On Hidden Lanes (new) Marco von Orelli -trumpet; Lukas Briggen -trombone; Lukas Roos - bass clarinet; Michael Wintsch . piano & synthesizer; Kaspar von Grüningen - double bass; Samuel Dühsler - drums. 7 52156 070924 Music of invention, recollection, and imagination. Images, metaphors and associations that show us ways out of whateverism. And yet a music that can stand alone by itself – the music of a trumpet player who has an unmistakable tendency to melos and at the same time is fully aware that you have to break with tradition if you want to come up with an authentic melody. On this debut album under his own name, Marco von Orelli also reveals himself as a conceptualist capable of creating a unique ensemble sound. A great contrast to conventional stylistic concepts, this sound is based on such structuralprinciples as change and variation, as it evolves within anself-determined system of coordinates...Following hidden lanes together, they are a close-knit collective. - Bert Noglik Musique de l'invention, de la mémoire et de l'imagination. Images, métaphores et associations tracent autant de voies pour sortir de l'aléatoire. Et pourtant, cette musique ne peut se suffire entièrement à elle-même - musique d'un trompettiste porté distinctement au mélodrame et, en même temps, pleinement conscient des incidents qu'une mélodie doit intégrer aujourd'hui pour paraître authentique. Sur ce premier album édité sous son nom propre, Marco von Orelli se révèle lui-même comme un conceptualiste capable de créer une musique d'ensemble toute personnelle. Celle-ci se démarque des notions stylistiques traditionnelles, au sens où elle adopte le changement et la variation comme principe structurel évolutif au sein d'un système de coordonnées autodéfini... Dans ces passages cachés qu'ils empruntent ensemble, les musiciens sont solidement reliés entre eux. - Bert Noglik Reprinting and repressing of edition 1 which we underestimated: hatOLOGY 717 Albert Ayler Quintet Stockholm, Berlin 1966 7 52156 071723<br style="mso-special-character:line-break"> <br style="mso-special-character:line-break"> Albert Ayler ts, Donal Ayler tp, Michel Samson vl, William Folwell bs, Beaver Harris dm. Recorded live November 1966 by Swedish Radio and WDR in Stockholm & Berlin 1966. Liner Notes by John Litweiler. Digifile packaging 49 gramms. Coverphoto taken at the Berlin concert. Albert Ayler's 1966 European tour produced several of the most inspired concerts of his sadly abbreviated career. Of the surviving tapes from the tour, those from Berlin have been the most abused, while those from Stockholm are all but unknown. This is the first release of these performances, in digitally remastered sound, to be approved by and officially and legally licensed from the Ayler Estate and the copyright holders of these tapes. – John Litweiler La tournée européenne 1966 d'Albert Ayler a donné lieu à plusieurs des concerts les plus inspirés de la carrière tristement abrégée du saxophoniste. Sur les bandes rescapées d'alors, celles de Berlin ont été les plus malmenées, tandis que celles de Stockholm sont quasiment inconnues. Il s'agit là de la première parution en son numérique remasterisé de ces concerts à être approuvée et distribuée sous licence officielle et légale de la Succession Ayler et des détenteurs du copyright sur ces bandes – John Litweiler

No, it wasn't flimsy. They might have different finishes. The one I saw was a smooth white. Thank you for the correct link!

I have seen them in use, and they seemed very worthy alternatives to Can Am. They do have the white pressboard finish akin to Ikea bookshelves., and they don't allow oversize CDs in a drawer filled with regular sized ones (due to the height of the drawer and the width of the rows, but the drawers and all seemed solid, and my friend had no complaints. I have considered getting them; just debating whether I care for the finish. My friend had them in a pantry, not an area of heavy traffic; my location would be more public. I think the Can-Am have better finish and are more solid, but I think Pacific Rim are solid enough. Oh, I can't get your link to work. Here's a previous discussion on our board: But the link I gave in that for a source for Pacific Rim no longer works. This seems to be Pacific Rim's website http://www.pacrimcab.com/ But one can't actually find the CD cabinets on it (or at least I haven't yet)

Where are those CDs? But yes, an EMP would probably wipe out the electrical grid. Best to install your own solar panels and hand-cranked generator at home. If the EMP is caused by nuclear weapon, then you will probably be dead or dying, so no need to worry about your music.

Actually the Eames House was made of off the shelf materials and could be reproduced pretty cheaply. The Eames easy chair (or whatever it's called) is expensive and a lovely luxury if you can afford it, but most of their molded plywood chairs are so cheap they're in every high school. (I always hated them.) Judy Chicago has been mentioned a lot. (I always presumed she did most of her work in Chicago. Didn't know she's ever been in LA.) She's in a lot of shows. I meant as a main character in one of the ads. Those have been Anthony Kiedis with Ed Ruscha, Jason Schwartzman with John Baldassari; and Ice Cube with the Eames. One woman in that group, and no Latinos, for a city that is 50% Latino. Those have been choices of Chiat Day.

No, i'm sincere. not congratulating myself. But I accept that I might not be consistent.

None of you need to "buy" it. It's about raising PR for Pacific Standard Time, with younger folks saluting artists in different ways. I have issues with the campaign (such as the lack of women so far, except for Ray Eames), but the "authenticity" of Ice Cube's street persona isn't one of them. He even says that he studied drafting in the ad, which doesn't buy street cred. It's about raising awareness among people who don't already know the Eames. Since you all are watching it and discussing, it's worked.

The organization I run is doing one of the exhibitions in Pacific Standard Time - a screening series: http://www.alternativeprojections.com/screening-series/

apologies...

He/she is pretty good about doing just links. This article is so short; it seems pretty trivial.