mjzee

Look, there are only so many musical notes, chords and riffs that a person can string together into a song. So over the course of decades, there's bound to be a little, er, borrowing here and there. Long before sampling made lawsuits the lingua franca that bonded so many disparate musicians together, artists were suing other musicians for plagiarism and copyright infringement. Lawsuits against hip hop groups are countless, but here are 11 rock groups who've been taken to court for plagiarism, from Radiohead to Coldplay to Avril Lavigne. More here: http://www.fuse.tv/2013/07/famous-songs-sued-plagiarism?campaign=dig|obr|cpc|lst#1

I was at the Jersey City concert. I remember being so surprised to see a clean-shaven Jerry, and I remember Seastones playing over the Wall of Sound during intermission. That was the last time I saw the Dead.

Listening now to the 8/6/71 portion of DP 35. Wow. More and more, I think Bill Kreutzmann is the unsung hero of the Dead. He is their propulsion, their energy center. His playing is easily the equal of the others in the band.

I think Bill Cosby will be seen as an historic figure. He's had a truly remarkable career, groundbreaking in many ways, has been in the public consciousness for close to 50 years, and, yes, he is a very funny fellow, right!

I like the Ella of the Songbooks. There, I like her for the sumptuousness of her voice - it's such a pretty thing. But even there, I think she strives to sing the songs accurately, not to give us her take on the songs. In that, I find her similar to Ronstadt. Other people seem to like her more; to each their own. But that's Ella at her best. I also own this: A 4-CD set on Pablo, it consists of selections from the following live albums: Montreux '75, Ella A Nice, Ella In London, JATP in Tokyo '53, Montreux '77, and Return To Happiness - Tokyo '83. You get the cute Ella, the crowd-pleasing Ella, the scatting Ella, the jamming-with-the-boys Ella, and most of it, to these ears, sounds conventional and not-very-interesting. I don't doubt or begrudge her status as a jazz icon, or as a pop-culture touchstone. Her audiences utterly loved her, as can be heard on these recordings. Perhaps Larry is right that she could bring emotional insight to a song (I haven't heard the Pass discs), but I don't hear it in this collection. Again, to each their own.

A lot also depends on what he can do to the tapes to make them sound better.

She was preceded by (at least) Ringo Starr, Harry Nilsson, & Carly Simon. Simon's Trust is actually a nice album if you can suspend disbelief about her vocals and just get into the accompaniment). Also, Motown had a thing about getting their bigger acts to do "standards" as part of the grooming for Vegas. Ronstadt has never struck me as a particularly bright person (but who am I to judge?) or singer (and although she got what was probably Riddle's most uninspired ever "high profile" work out of him and was by more than a few accounts more or less a total dolt about how to "get into" that material, hey, she had the desire and the money, and by god, she made it happen, so, good for her!)), but I always dug her for not letting that get in the way of her enthusiasm and curiosity (remember her doing "Pirates Of Penzance"?). I give a whole lot of the credit to her great run of great-sounding records in the 70s to Peter Asher (and yeah, the Greatest Hits thing is one of the fewer times where that's what I'd prefer over whole albums) but she had the chops to give him something to work with, right? Really, "harmlessly & pleasantly clueless" is perhaps the phrase that keeps coming to mind about her actual singing. She's always had, again, a good, at times great skill set to be clueless with. All of which is just to say that as a "singer", eh...., but as a "voice", somebody you couldn't miss no matter what the context, she's been there since "Different Drummer" and stayed there for all of my adult life, and even if I can't really take her seriously as an "artist", I still like her a helluva lot, and yes, this is sad news. I agree with this assessment of Ronstadt. I've always thought she was rock's version of Ella - nice singer, iconic, but brought little to an understanding of a song.

Of course, the first one was this (in the LT series): Of the two you showed, the second one is the "original" to CD. I never saw the first one.

It was Mary Lou who insisted on Cranshaw and Roker? I'd of thought it was Norman Granz. I'm surprised he didn't make them do Sweet Georgia Brown.

Uptown strikes again! I just noticed this on Amazon. Release date September 17: If it's from Baltimore, can we assume it's from the Left Bank? Here's the description from Amazon: The Duke Pearson Big Band of the late 1960s featured great soloists Donald Byrd, Burt Collins, Lew Tabackin, Frank Foster and Pepper Adams. Drummer Mickey Roker propelled the 16 piece band with fire. All this is on display at the April 1969 Baltimore concert issued for the first time on this CD. Where the studio recordings featured relatively short pieces, this concert presents the band stretching out in full force. Even 44 years later, this is big band jazz at its finest and a clear demonstration of Duke Pearson's great talents as a leader, pianist, composer and arranger.

Curious why you went to the concerts. To hear Mary Lou and Max? As I recall, Cecil was all over NYC at that time. Gary Giddins praising him to high heavens, the New World releases getting wide acclaim, all these Japanese Trio releases hitting our shores (like Akisakila), etc. I kinda knew what Cecil was about, but it doesn't hurt to experience it for yourself. At least I thought it wouldn't hurt. The Cecil/Max concert was the worst. Max is a great drummer, and I could always focus on him when the going got rough, but I thought Cecil's music was pure aggression, sort of the piano pummeling my head for however long the concert lasted. It felt like punishment. I remember when the Cecil/Mary Lou concert was announced, Mary Lou saying there was enough common ground in their music and in the jazz tradition to make for an enjoyable, enlightening concert. I kinda suspected it would be a train wreck, albeit perhaps an enjoyable one. It was even more of a hoot to see Bob Cranshaw and Mickey Roker as the rhythm section. This would make sense as a Mary Lou rhythm section, but they had no insight, affinity, connection with what Cecil was playing. It was so weird to hear Mary Lou w/bass and drums playing something traditional, only to hear Cecil chattering away concurrently, almost like Unit Structures and Earl Hines played at the same time. It was nice to see and hear Mary Lou; that's about all I can say. The recording's around in case anyone wants to check my impressions. It's still remarkable to me to see how many people profess a love for Cecil's music; the most recent one is in the Bill Cosby article I posted. Perhaps someday I'll "get it"; that why, every so often, I'll try again. But I think I'd rather bash my head against a wall than hear another Cecil concert.

I just looked at her Wikipedia entry (I thought I had read somewhere that she came from Mexico and was looking for confirmation; she didn't), and found this fascinating: Her mother Ruth Mary, of German, English, and Dutch descent, was raised in the Flint, Michigan, area. She was the daughter of Lloyd Groff Copeman, a prolific inventor and holder of many patents. Lloyd, with nearly 700 patents to his name, invented an early form of the toaster, many refrigerator devices, the grease gun, the first electric stove, and an early form of the microwave oven. His flexible rubber ice cube tray earned him millions of dollars in royalties.

Oh yeah. I was at this one: What a silly concert. Was also at this one: I do not like Cecil Taylor.

Thanks! So Lester isn't even on the last 4 tracks? Wow.

I was at this; still have a cassette recording I made at the concert: Was at the Avery Fisher portion of this:

What's the best way to get this music now - still the Fresh Sound CD? It doesn't have the alternates.

I haven't heard All Our Reasons, but I have heard this: I generally don't like that "post-bop" sound (indeterminate key, lack of melody, pulse rather than rhythm), but I thought a lot of people here do. Surprised they're getting such a lukewarm reception. Wonder what the key missing ingredient is.

Welcome to all!

Bill Cosby answers the phone: "I'm here!" It's 7 a.m., he's in Los Angeles, and his greeting feels like a pronouncement, at once comic and serious. Yes, Cosby is here, and he is about to hold court — about jazz, his passion since he was a kid in the North Philadelphia housing projects, dancing to Clarence "Bull Moose" Jackson records and dreaming of becoming a drummer. That didn't work out, but, as with the best jazz musicians, Cosby — comedian, TV and film star, educator, producer — is a storyteller, and he spends the next two hours telling tales. His stories spiral, expand, digress, flow, digress some more and, suddenly, surprisingly, find their way home — not unlike a solo by a jazz musician. More here: Marin Independent Journal

How a 1959 jazz ballad influenced the Earth, Wind & Fire singer's falsetto and phrasing WSJ

How's the music on these releases? I have the Dexter on Fresh Sound, but don't know the others.

Import CDs has a vinyl sale going on. Lots of OJCs @ $8.09: http://www.importcds.com/pg/4092?utm_source=WhatCounts&utm_medium=Email&utm_campaign=IMP086&utm_content=jazz

Nameless Sound and the Cornudas Mountain Foundation present A Rare Site-Specific Performance in the vast West Texas Desert Peter Brötzmann at The Hill of James Magee Peter Brötzmann at The Hill of James Magee Saturday, October 12, 2013, 3pm James Magee's The Hill, near Cornudas, Texas Tickets $75 each, purchase by Paypal or call 713-928-5653 The Cornudas Mountain Foundation and Nameless Sound present a rare site-specific event in the vast West Texas desert. German saxophonist Peter Brötzmann will perform solo sets for an intimate audience at “The Hill”, a monumental (yet very personal) work of art, isolated on remote private land 70 miles East of El Paso. Over 30 years in the making, The Hill is the life work of James Magee (b. 1946, Newaygo County, Michigan). Complex and powerful, The Hill consists of four buildings (40 feet long, 20 feet wide and 17 feet in height), all of which house installations by Magee. Built from irregularly-cut shale rock, each building is entered through a majestic iron portal, 8 feet wide and the full height of the building. The Hill sits in a gently rolling landscape with mesmerizing views of mesas, mountains, and limitless West Texas skies. Having done much of the work himself or with one assistant, The Hill has been an impressively solitary endeavor for Magee. In its three decades, only a small number of people have visited the site. This concert offers a visit to the site, as well as a musical experience. It follows several other creative music presentations at The Hill, including a concert by Bob Ostertag in 1999 and a Nameless Sound-curated event featuring saxophonists Joe McPhee and John Butcher in 2010. For over forty years, the groundbreaking German multi-reedist Peter Brötzmann (b. 1941, Remscheid, Germany) has peeled the paint off concert halls with his massive tone, rough timbre, and relentless attack. Brötzmann studied painting at the Art Academy of Wuppertal in the late 1950s and soon began associating with Fluxus artists including Joseph Beuys and Nam-June Paik. By 1968 he had refocused his creative efforts on music and with an eight-piece group, recorded and self-issued Machine Gun, an incendiary LP that documented the leading voices of the burgeoning European free jazz revolution. In the decades since, Brotzmann has released over fifty albums as a leader while rampaging his way around the globe, taking on such fellow travelers as Han Bennink, Derek Bailey, Cecil Taylor, William Parker, Joe McPhee, and countless others. Brötzmann has a reputation for an extremely physical and powerfully expressionistic approach to music making. But a more in depth exploration reveals music with a vulnerable and lyrical core, music with roots in the blues. It's this balance of power, humanity and vulnerability that makes his performance a perfect match with the site-specific work of James Magee. For information about James Magee, The Hill, and The Cornudas Mountain Foundation: http://www.mageehill.org http://www.amazon.com/James-Magee-Richard-R-Brettell/dp/379135079X

Peter Brötzmann and Keiji Haino Three Nights: Solos, Duo, and Art Opening presented by Nameless Sound, Rice University's Department of Visual and Dramatic Arts, the Shepherd School of Music, and the Chao Center for Asian Studies courtesy Peter Gannushkin / downtownmusic.net Keiji Haino: SOLO Monday, October 7, 2013, 8pm at venue to be determined. Peter Brötzmann: SOLO free at James Turrell's 'Twilight Ephiphany' Skyspace Tuesday, October 8, 2013, 8pm Rice University OPENING RECEPTION for 'Peter Brötzmann: Graphic, Design Work 1958 -2013,' Rice Media Center, Rice University to follow at 9:30pm. Peter Brötzmann/Keiji Haino: DUO Wednesday, October 9, 2013, 8pm at Rice Media Center, Rice University. Keiji Haino (Japan): vocals, guitar Peter Brötzmann (Wuppertal, Germany): saxophones, clarinets Monday and Wednesday: Single tickets for Monday and Wednesday are $13 for general admission or $10 for student with I.D. Free admission for those 18 and under. A $20 pass for both performances is also available. The Tuesday performance at the Skyspace is free. Purchase by PayPal or call 713-928-5653. Two of creative music's most iconic and monumental voices join forces in a North American debut. The inscrutable Keiji Haino (b. 1952, Chiba, Japan) is both an improvising instrumentalist and a singer-songwriter who uses volume, distortion, and theatricality in the extreme to manifest a uniquely personal vision of what music can be. Appealing to fans of rock, improvisation, damaged blues, psychedelia, minimalism, and drone music, Haino's protean output is enhanced by a distinctive personal mystique: he is never seen without black clothes and sunglasses, and his live performances are among the most unpredictable in modern music. Haino began his career in the early 1970s, when he collaborated with psychedelic multi-instrumentalist Magical Power Mako and film composer Toru Takemitsu. By the end of that decade, he formed Fushitsusha, the group that could arguably be the definitive improvising power trio. Though he has performed on a remarkable (and unpredictable) range of instruments, he is known for a consistent and singularly cathartic embodiment of sound exploration. As an electric guitarist, he has created some of the most physical and earth-shattering monuments of sound ever produced on the instrument. As a vocalist, Haino goes deep into his self, communicating the ecstasy and anguish of an inner-world. His Texas debut in 2007 featured a show in which he performed exclusively on gamelan and other percussion instruments, followed by a howling electric guitar concert. Haino opens this three-night festival on Monday, October 7th with a solo concert at a venue still to be announced. For over forty years, the groundbreaking German multi-reedist Peter Brötzmann (b. 1941, Remscheid, Germany) has peeled the paint off concert halls with his massive tone, rough timbre, and relentless attack. Broötzmann studied painting at the Art Academy of Wuppertal in the late 1950s and soon began associating with Fluxus artists including Joseph Beuys and Nam-June Paik. By 1968 he had refocused his creative efforts on music and with an eight-piece group, recorded and self-issued Machine Gun, an incendiary LP that documented the leading voices of the burgeoning European free jazz revolution. In the decades since, Brotzmann has released over fifty albums as a leader while rampaging his way around the globe, taking on such fellow travelers as Han Bennink, Derek Bailey, Cecil Taylor, Bill Laswell, William Parker, Joe McPhee, and countless others, and maintaining an extremely physical and expressionistic approach to music making. On Tuesday, October 8th at 8pm, Brötzmann will perform a free solo set at James Turrell's 'Twilight Epiphany' Skyspace at the Suzanne Deal Booth Centennial Pavilion, immediately followed by the opening reception for 'Peter Brötzmann: Graphic, Design Work 1958-2013' at the Rice Media Center. Haino and Brotzmann's musical partnership dates back to April 1996 when a Japanese tour yielded the CD 'Evolving Blush or Driving Original Sin.' Their collaboration was further developed during a handful of subsequent engagements including the 2008 Berlin JazzFest and an appearance at London's Cafe Oto in 2011. They share an uncompromising individualism, and a reputation for extreme and powerful expressions. But a more in depth exploration of both artists reveals music with a more vulnerable and lyrical core, music with roots in the blues. The two artists make their North American debut as a duo on Wednesday, October 9th at the Rice Media Center. These concerts are co-presented with the Rice University Department of Visual and Dramatic Arts, the Shepherd School of Music, and the Chao Center for Asian Studies. www.arts.rice.edu www.music.rice.edu www.chaocenter.rice.edu

That issue (compilation field not checked) is from the CDDB database, not an Apple issue.