mjzee

I think it's silly to assume that everyone reacts in the same way to situations. I was reminded of that by last week's New Yorker, which reprinted an article by Nora Ephron from 2006, in which she writes about her life in the sixties and afterwards. It's a time capsule, to be sure. But read the third paragraph, and the tone of the article as a whole. Do she or her friends seem damaged by their encounters? Indeed, would that culture have been widespread if women were all getting damaged in the process? And btw, should this article now be dropped into the memory hole for its inconvenient anecdotes? https://www.newyorker.com/magazine/2006/02/13/serial-monogamy

True, but you were still able to watch and enjoy Blazing Saddles. By the logic being applied to "Baby It's Cold Outside," you soon won't be able to see Blazing Saddles on TV. From there, it's a short step to Warner Bros. no longer making it available on DVD. Down the memory hole. Don't underestimate how destructive this movement is to your being able to speak and think freely. Your collective description of all men is dehumanizing and offensive. Who gets to determine what is and isn't offensive? And should the few be allowed to tyrannize the many?

Reread "1984." This is all about dropping history down the memory hole.

Plus they had two guys rockin' the hornrims.

In college, the Roxy Music with Eno was definitely considered part of the same circle of interest as King Crimson, Yes, Hatfield and the North, Gong, Matching Mole, Genesis (with Peter Gabriel) and others. Also, look at Roxy's subsequent pedigree: Eno with Fripp, Phil Manzanera with Eno-Nico-John Cale, Eddie Jobson with Zappa, John Wetton (King Crimson)...heck, Roxy's first album was produced by Peter Sinfield.

I'll stick to my subculture reference: The Cure--goth, mope, synth dance (I don't say any of that pejoratively - I owned one of their albums, and can appreciate them for who they are). Def Leppard--heavy metal. Janet Jackson--r&b, dance. Stevie Nicks--wiccans, new age spirituality, women. Radiohead--never heard them, but I'm sure it's for the under-50 crowd (which probably isn't the R&R HoF crowd). Roxy Music--intellectual prog-rock. The Zombies--top 40 in the Sixties. Maybe they're just running out of huge acts to nominate.

I don't have much to comment about these selections, but they seem so small-bore. Each appeals to a different subculture within the music-buying public, but none, I think, has wide appeal, or was able to span a few of those subcultures. I will say that I was listening to top 40 radio, on my 2-transistor, when "She's Not There" came out, and it was like nothing I had heard before. Very sophisticated, very cool, and you could dance to it!

RIP. Wonderful singer, easy on the eyes.

Apple released an update to iTunes this morning, and it looks like they fixed the album cover bug.

Happy happy!

The page you linked to says this: Special Feature / Bonus Track: two bonus tracks

I dunno, I might. I remember when the Impulse CD reissues came out (Cuscuna had a hand in them, IIRC), being very disappointed they weren't twofers, since the originals were so short and there were no extra tracks.

Release date December 21: Call Me: Jazz from the Penthouse presents previously unreleased live recordings of underrated jazz pianist Jack Wilson and his quartet, best known for his work on the Atlantic and Blue Note labels. Featuring a young Roy Ayers and recorded in Seattle at the Penthouse jazz club in July and August of 1966 when Wilson's group was touring the west coast with Redd Foxx, these recordings feature a mix of standards, current pop hits of the day, and originals by Wilson himself. In addition to Roy Ayers on vibes, the group features Von Barlow on drums and Buddy Woodson on bass. The deluxe 24-page booklet features an appreciation by Ahmad Jamal, interviews with Roy Ayers and Von Barlow, producer's notes, and previously unseen archival photographs. These recordings were made just two weeks before Wilson & Co. Would enter the studio to record his classic Blue Note debut Something Personal. https://www.amazon.com/Call-Me-Penthouse-JACK-WILSON/dp/B07J3BBYZR/ref=sr_1_20?s=music&ie=UTF8&qid=1544583240&sr=1-20&refinements=p_n_date%3A1249114011

So, I'm not one to promote bootlegs or Andorran-type releases, but this caught my eye: That phrase "plus an unreleased session." Here's from the description: "Also included as part of this collection, is a rare, previously unreleased recording of a jam session undertaken by members of John Coltrane's group in Munich in 1961, led by Eric Dolphy on bass clarinet and McCoy Tyner on piano. This unique and rarely heard recording also featured Reggie Workman on bass, Mel Lewis on drums, and Coltrane himself contributed trumpet to one number." Is this available elsewhere? Is it any good? Coltrane on trumpet????

Got mine today, in great condition. Beautiful booklet; looks like I'll have to spend some time with this one.

I found myself staring at his hands - especially his frequent reverse-paddlewheel. Overall, yes, I do agree with his point. But he's looking at it from a music preservation point of view. I think it's important to support the industry in order to make sure the music creation ecosystem is continued. If people don't foresee a career where they can make money writing and performing music, they're going to go into other lines of work.

I have two: Earl Bostic and Don Byas. Some tracks sound good, others come from substandard sources. On the Don Byas, they mistakenly repeat a track: on disc one, "Out Of Nowhere" is both track 12 and 21 - exact same performance. I wasn't impressed.

Same here.

Sounds like Zappa's Big Note concept: http://wiki.killuglyradio.com/wiki/Big_Note_concept And didn't Sun Ra talk about how we're all strings? Can't find the quote, though. Thanks for posting.

Alicia de Larrocha - Complete Decca Recordings. $87.71 for 41 CDs.

Same here.

Yes, thanks for letting us know.

Funk Dumpling is a very nice record; I had it on a Savoy cassette. RIP.

Check out the comments about this guy - especially about the Royal Shakespeare Company: https://www.amazon.com/Tchaikowsky-Complete-Collection-ANDRE-TCHAIKOWSKY/dp/B0777FJD4X/ref=sr_1_1?s=music&ie=UTF8&qid=1543810822&sr=1-1&keywords=andre+tchaikowsky

Per Wikipedia, the music in the film is by Kris Bowers. There are many pieces in the movie, filmed while Ali is at the piano, which sound like they could have been copied from improvisations/pieces by Don Shirley. A soundtrack could be made that would include original music from the movie, certain live scenes (such as the roadhouse scene towards the end of the movie), and some Shirley performances. Someone would have to sort out the Cadence rights, first. Would the soundtrack come out on Collectibles records? Actually, the music rights are probably owned by Universal, since they own everything these days. I have to mention Rex Reed's review of the movie. He loved it, but he did say this: "Shirley was a pretentious Jamaican musician so improvisational he couldn’t play anything straight. I never cared for his recordings and on the few occasions when I saw him in person on smoky stages like the Village Vanguard, he could make Gershwin sound like Berlioz and Berlioz sound like Brubeck." https://observer.com/2018/11/green-book-best-film-viggo-mortensen-rex-reed-review/