mjzee

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.

A compilation CD will appear in Album View as a compilation as long as "Part of a Compilation?" is checked in that album's info. The artist name that appears is "Various Artists." If this field is not checked, then every artist on that compilation will appear separately.

Is it this one?

He was 95. I do think people are living longer these days. USA Today

Sorry to hear you're having troubles. I use 11.0.5.5 on my Mac and it works fine. I have given Apple my credit card #, though. I've seen no unauthorized purchases.

Yeah, unfortunately, you also need to back up the (your computer name)/Music/iTunes folder. That's the folder which contains your artwork and other song data.

Aren't you guys scared that those torrent sites compromise your computer's security?

And books... Here's to a great jazz ambassador; she and Billy Taylor can play some duets in heaven. RIP.

I have the images. In older version you can select add art work. Now it is Get art work and it doesn't let you add any art work that you may already have. I don't think that's correct. Here's how to add artwork (I have a Mac): 1) Right-click on the album in iTunes and select "Get Info." A window, "Multiple Item Information," opens. One field is square, and is labeled "Artwork." 2) Find a jpg of the album cover; you can use Google Images, Amazon, iTunes, Organissimo, or wherever. You can even scan your own artwork. 3) Drag the jpg to the "Artwork" field, then hit OK.

It might be that the album isn't carried in the iTunes store; if it isn't, they don't have the artwork. It's pretty simple to find and copy the artwork from Google Images.

I think you're right. It's fun listing them, though.

How many albums was he on? The following on Blue Note (from the Cuscuna/Ruppli book): Freddie Hubbard - Hub Cap Art Blakey - Mosaic Art Blakey - Buhaina's Delight Freddie Hubbard - Here To Stay Art Blakey - Free For All Art Blakey - Indestructible Joe Henderson - Mode For Joe Lee Morgan - Charisma Blue Mitchell - Boss Horn Lee Morgan - The Rajah Donald Byrd - Blackjack Hank Mobley - Third Season Lee Morgan - Sonic Boom Donald Byrd - Slow Drag Hank Mobley - Far Away Lands Lee Morgan - The Sixth Sense Lee Morgan - Caramba! Stanley Turrentine - Another Story Hank Mobley - Thinking Of Home Dexter Gordon - The Other Side of Round Midnight Phil Woods - The Rev And I Terumasa Hino - Unforgettable Jackie McLean - Nature Boy Art Blakey - Three Blind Mice Leader dates on High Note (from their website): The Bouncer Voices Deep Within Seasoned Wood One Flight Down Underground Memoirs Latin Tinge The Promised Land Anyone care to add to this?

It's interesting how this article compresses his career after 1964 into one paragraph.

Just saw this on Amazon; no release date listed. Amazon

I saw Jackie McLean backed by Cedar's trio at the Vanguard about a year before Jackie passed. It was around Christmas time. Cedar opened with his own set. A very magical evening. RIP, and thanks for all you've given.

I can't figure out how to post a sound clip here.

I was at the last show on the tour (Central Park, NYC) and saved it on a cassette recorder. I liked it, but not sure what all the fuss is about. Some groups you get to the core, and others you feel like a spectator, watching everyone else swoon. Powerful group, don't get me wrong. But not a lot of it seemed improvised, so will one concert really be different from the next? On that last concert, Fripp made a point of thanking his road crew. It was interesting to hear him speak, thanking his road crew at a rock show in an almost Oxfordian dialect.