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Adam
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Posts posted by Adam
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I'm mixed on it.
Side question - why did you put an apostrophe in the thread title in the word "Changes"? It's not a possessive.
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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.
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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
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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.
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I'll try to ask Steve Isoardi about those recordings and their current status.
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Adam, are you the L.A. Adam I met in NY, or the L.A. Adam who went to Havana, or another Adam altogether?
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.
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Yep. I also plan to shell out for this:
http://www.amazon.co...35983494&sr=1-6
and this:
http://www.amazon.co...35983494&sr=1-2
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.
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New print available. Interesting article about the new Shirley Clarke Project in the NY Times today.
Coincidentally her sister lives in our building.
Which sister? The one I knew, Elaine Dundy, died a few years ago.
Betty Lorwin
Thank you. I never communicated with her.
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New print available. Interesting article about the new Shirley Clarke Project in the NY Times today.
Coincidentally her sister lives in our building.
Which sister? The one I knew, Elaine Dundy, died a few years ago.
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Ah, heck. I had a long phone conversation with him last year, and he was quite the thoughtful and unusual character.
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And good news. Looks like I have the rights to Carter Bradford Flying Dutchman and, if I wish, Tapscott, The Giant Is Awakened. So that is very very good news. The Flying Dutchman catalog was finally sold and I got first rights to those performances. Those I'll do soon, because I need some big smackers to do Joe Daley correctly.
Hooray!
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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.
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I hope they might still do a Muhal Richard Abrams box.
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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.
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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.
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Sidney Bechet, "Blue Horizon"
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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
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No, it wasn't flimsy.
They might have different finishes. The one I saw was a smooth white.
Thank you for the correct link!
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Has anyone here seen or own a Pacific Rim CD storage cabinet? I've had an eye on these for a couple of years now and was wondering what anyone might have to say regarding their quality. I currently own a 2-drawer Can-Am cabinet and love it as a storage solution for my CDs. The Can-Am cabinet is of excellent quality but the Pacific Rim cabinets can be had for hundreds less so it has me wondering about their quality. I believe the Pacific Rim cabinets are what was being used at a local used CD/DVD store (which I think has since closed) so they must have been of decent enough quality for the heavier use of a retail store. Can anyone here comment on the Pacific Rim cabinet quality? (drawer slides, drawer sturdiness, thickness/heaviness of sheet metal, etc.)
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
But one can't actually find the CD cabinets on it (or at least I haven't yet)
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A "nuclear storm," EMP or whatever might destroy hard drives, but it shouldn't affect CDs at all. On the other hand, I don't care what medium you're storing your music on, but it'll be hard to hear any of it without electricity. Maybe we should start buying up sheet music.
That said, I've been buying tons of CDs lately - but mostly because I'm finding them for only a buck or two... much less than most legal downloads.
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.
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It's not mainstream. If it was there wouldn't be either an Occupy or Tea Party movement. They don't need to stay poor. As you say, they can get rich and "sometimes even maintain their integrity." I'm saying that I don't see that here Thats exactly my argument. Glorifying objects of the 1% class---that's maintaining integrity? Touting Eames and his overhyped, overpriced status symbols; is that keeping faith with the people of Compton (literal and metaphorical)? I truly don't think so.
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.)
I have issues with the campaign (such as the lack of women so far, except for Ray Eames),
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.
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Ice Cube's persona, its authenticity or lack of same, is at stake since he put himself into this context. The promo in fact exploits the issue of Ice Cube's persona.
On the one hand, you get to condemn discussion of this, but then you congratulate yourself on the efficacy of the promo spot because it provokes discussion. A lot of insincere there.
No, i'm sincere. not congratulating myself.
But I accept that I might not be consistent.
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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.
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The organization I run is doing one of the exhibitions in Pacific Standard Time - a screening series:
R&B artists with jazz backgrounds
in Miscellaneous Music
Posted
Big Jay McNeely. Started out in jazz with a BeBop trio Sonny Criss & Hampton Hawes, but changed over to R&B.