I am still unsure about the ezz-thetics series and the partial repackaging/compilation nature of these CDs but I guess if it gets the music out there... a friend of mine swears by the remastering job on the ones he's picked up, but I've never been one of those people that buys every new version of a favorite recording. Anyway, hope that musicians and their estates are getting paid and this isn't just some EU copyright party. Only titles that looked necessary to me were the Coltranes.
Yeah, that is very true. Glad to be in NY, although my former home state of Texas has actually been doing reasonably well, at least in the more urban areas. Dunno about rural spots, probably on par with other rural areas in the country.
good news, Pim.
Got my second dose of Moderna on Friday -- other than some soreness and fatigue, and a slight fever for a couple of hours yesterday, I'm fine. Glad to be vaccinated.
Baraka and Spellman did not give Dixon much space as he did not adhere to their conception of aesthetic/political radicalism. Of course he was radical on both counts, but at the same time impossible to pigeonhole. Sangrey pretty much nails it, though -- they picked musicians that fit into their agendas. Most critics do.
It also took me a while to get into McPhee and Brötzmann but when I did...
yeah, I'm willing to trust Pierre Crépon on this. Sad news. I interviewed him in 2004, fascinating character and one of the great saxophonists to emerge in the 1960s.
perhaps issues with the tape on Priestess? who knows, anybody's guess. Or there'll be a part two for RSD 2022?
now:
Annette Peacock & Paul Bley -- Dual Unity -- (Freedom UK orig)
packed most of my records for an impending move, but some are still kicking around.
yeah, CD is the way to go for most of these. I did preorder the Russell and the Rendell/Carr on LP to try them out, but otherwise am sticking to digital formats.