mjzee

Nice phrasing!

Because you love him. Here's another vote for Live at Lausanne 1962; he's backed by a lively local bassist and drummer that pushes him.

Here's the link to the track:

Really? That would either be news to me, or is one of several hundred things I once knew (but have long since forgotten). Any truth to this? (Of course the reference in the Wikipedia article isn't sourced, so it could easily be apocryphal.) Bob Belden posted a track on his website a few years ago of Betty Mabry doing Cream's "Politician." These are the details he listed: Produced by Miles Davis, recorded 5/20/69 at Columbia Studio B, Stan Tonkel - engineer. Betty Mabry, vocal; John McLaughlin, guitar; Larry Young, organ; Harvey Brooks, electric bass; Mitch Mitchell, drums. Interestingly, plosin.com doesn't list this session.

Songwriters have ASCAP and BMI behind them, as well as the publishing companies. I'm sure they still get paid by legitimate record companies.

Don't forget: I've always wished he'd varied the last 30 years more - the two quartets of the 70s were thrilling. Be great to hear him again in a quartet or quintet, preferably with some newer musicians rather than one of those all-star juggernauts. Yes, he needs to challenge himself again.

Saul Zaentz paid the original owners of Fantasy, and of Prestige, and of many other companies. He did so with the aim of making a profit. It seems like he did OK in that regard. Concord, less so. The profit motive is a great motivator; people need to get paid for their work or their investments. Let's not forget that the consumer will continue to pay, in one way or another. It's hard to imagine, but how much music will never be created because musicians or financiers don't see the ability to make a profit or to make a living? They'll do something else instead, and the jazz fan (the consumer) loses. Even "free" models aren't really free. Remember when you could just watch videos on YouTube? Now you're inundated with ads. And how many torrents contain viruses? There's a profit motive for sure. Agreed. But do the producers of cheap, multi CD reissues do so?

I'd like to hear him be a sideman in a group. I think he would provide something interesting in that role.

I'll give it a shot. This has little to do with government. It's not clear whether songwriters, for example, are paid for the use of their compositions. Moreover, Concord (to use one example) paid the original owners of Fantasy for the recording masters. Given the timing of their purchase (at the start of the record industry's decline), it's hard to say it was a wise purchase. Surely they have the right to make money off these masters. These cheap sets make it harder for them to do so.

Thanks, GA. Great photos on the microsite.

Orson Welles's thoughts on pastrami (4th letter down) from 1946: https://www.commentarymagazine.com/article/from-the-american-scene-one-touch-of-delicatessen/

I've just finished listening to Windmill Tilter, and found it lovely. The textures are great, but it also has a lot of drive, and the solos are consistently interesting. Thanks to all who recommended it, as I had never heard of it before this thread.

Happy birthday, Keith!

What is that? Never heard of it.

There's a good article on the upcoming Dead shows in today's WSJ. I liked the graphic which accompanied the article:

For those who do (legal) downloads, eMusic now has 170 Hat titles. Excellent way to get these at about $6.49 a title: http://www.emusic.com/browse/album/jazz/label:649435/page/1/

Led Zeppelin Judge Declines to Dismiss Stairway to Heaven Copyright Suit - Bloomberg Business

But one of the big problems with these Real Gone titles is that they look respectable and legit. A jazz consumer who's not in the know (who, say, doesn't read this BB) could reason that Amazon is selling these, I see them in Half Price Books and other stores, so they're probably OK (similar to those Doxy LPs). Someone who does BitTorrent knows exactly what he's doing and why it's wrong. A good comparison would be those Applause LPs from the '80's that reissued some Blue Note titles. They were cheap and they looked like boots, so the average consumer wouldn't know they were actually licensed from BN. They were in record stores, so the average consumer figured they're probably legit. In the case of Applause, they'd be correct; in the case of Real Gone or Doxy, not so. To the average consumer, I'll bet these look a lot alike:

Halftime at the Dylan concert. Good stuff. Tangled Up In Blue: "She lit a burner on the stove And brushed off the dust 'You look like someone I used to know Someone I thought I could trust'" And "We always did feel the same Depending on your point of view" Now I'm home. Second half wasn't as good; too dependent on weak material.

I'm in.

Went to the Meet Up at the Movies last night. Wonderful, as usual. Very high energy, driving performance; you really got a sense of Jerry enjoying being a rock star. The video feed seemed different than the other concerts of that era featured in the View From The Vault series. The stage was very dark, with generally only the singer being spot-lit. Surprisingly, the video feed did not include any of the trippy video effects so common in the VFTV concerts. Phil did Box of Rain to open the second set (this is the version included in "Fallout From The Phil Zone"). Sound quality was great, in a "stadium show" kind of way - a very different listening experience than listening at home. Makes me wish they do one of the Chicago shows as a broadcast to theaters. One thing that was apparent was how much Jerry enjoyed Brent's playing. All in all, a very strong show.

But how does it sound - better than a regular turntable? Is it able to play a worn LP with greater fidelity and less noise? Because that's the claim.

Actually the copyright laws in the US are now amongst the most restrictive in the world. Even under the old copyright laws very few recordings have gone into teh public domain in the US. Almost none of these reissues are from the US and even their sale here is problematic. If Amazon can sell them pretty blatantly, it's hard to say that their sale is problematic. In fact, I think Amazon is a big part of the problem: record labels are in a weakened position, and don't have the heart to challenge the dominant music retailer in the U.S.

Mostly, we consider it a momentary weakness of character to buy these. While tempting, we know no money flows to the copyright holders. We're also uncertain about the source of the masters, confident that they don't have access to the master tapes, and as such, are not the best-sounding copies around. Finally, if one wants an ongoing jazz industry (with continuing archival releases), we recognize that desire as not being compatible with buying these. Mind you, we understand the temptation (and have bought some on occasion), but recommend passing them by.