mjzee

It'll be interesting to see how "music" is defined. If music at a certain resolution and bitrate is protected by copyright, would the same music under a higher or lower resolution be considered the "same" music?

I'm interested, both as a music business development and for the music itself, but if there's no way that I can hear it, then...?

Happy birthday! I do enjoy your knowledgeable posts.

On Jan. 8, 1968,Otis Redding's "(Sittin' on) the Dock of the Bay" was released on Stax's Volt label. Co-written by Redding and guitarist Steve Cropper, the single reached No. 1 on Billboard's pop chart in March 1968, where it remained for four weeks. Two Grammys followed, along with the song's induction into the Grammy Hall of Fame in 1998. Redding never heard the single. On Dec. 10, 1967—just 18 days after the recording session—the 26-year-old singer died in a plane crash in Wisconsin, killing everyone on board except Ben Cauley, the trumpeter in his band. Mr. Cropper, pianist Booker T. Jones, trumpeter Wayne Jackson and Mr. Cauley recalled how the song was written and recorded, why sounds of surf and gulls were added, and the story behind Redding's famed whistling. The full Marc Myers article here: WSJ

Agreed. One CD in my 3-disc Getz West Coast/East of the Sun album won't play as it nears 80 mins. Someone - I think it was Clunky (?) - said his copy had the same problem. So did mine.

I worked at a jazz record store when Weekend In LA came out. That thing flew out the door for many many months. Two record set, too - kinda expensive. But people wanted that, and wanted to hear it. You couldn't walk down the streets of Manhattan without hearing On Broadway. Sometime in the early '80's ('82?), I saw Benson sitting in with the Art Blakey band at the Village Gate, so I don't think he ever turned his back on jazz. He's just good at what he does.

Ray Collins, who invited guitarist Frank Zappa to join the band that eventually became the Mothers of Invention, has died at age 75. Read more: Early Mothers of Invention member Ray Collins dies - The Denver Posthttp://www.denverpos...s#ixzz2GJaCjAuN

It was great seeing that photo in the WSJ.

Amid the shifting trends and fads that underlie the year-end holiday shopping binge in Japan, one item commands enduring and dogged fascination among retired baby boomers and others by conjuring up an enthusiasm for jazz from decades past. Jazz fans have taken to buying vinyl Blue Note records that almost exactly re-create original recordings dating back to the 1950s. Vinyl junkies are apparently obsessed with the otherwise obsolete pressing technology that re-creates the original look and feel of the records–even though originals they are not. More here: WSJ

Now available on eMusic for $90.87: eMusic

To every thing, turn, turn turn….and when there’s a time to dance, put on a record, not an iPod. For the daring or the curious,the Instructables website has instructions for converting today’s modern MP3 files into old-timey records. Read more: http://www.foxnews.c...s#ixzz2G5b8UNAS

Amazon has many albums this week for $5.00 each: Amazon

" Anheuser-Busch InBev no longer prominently markets the beers on its websites alongside the better-selling Michelob Ultra." There's probably a correlation between promotion budgets and sales.

No! Loved his drumming. RIP.

It looks like some of these are actually limited editions and are running out. The Mahavishnu box hasn't been widely available for 2 months now, and if Amazon is any indication, the Woody Shaw is also gone.

Great discussion, guys. I'd only hope that in the future, the same sort of civil discussion could be had about Oscar Peterson or Keith Jarrett.

I finally watched the Monk documentary "Straight No Chaser" last night. It mentioned Monk's losing his cabaret card and spending 3 months in jail for copping to drugs that belonged to Bud Powell. The film then cut to Monk playing "Evidence." Blakey called that same song "Justice." I never understood the meanings of those titles, but I wonder whether that juxtaposition in the film was no accident.

There is no such thing as perpetual tranquility of mind while we live here; because life itself is but motion, and we can never be without desire, nor without fear, no more than without sense. - Thomas Hobbes

In the 1930s and early 1940s, the Library of Congress widened the net and recorded Creek Indian lullabies and cowboy ballads and a host of other fresh sounds, from sad Cajun accordion waltzes of the Louisiana bayous to the chanteys of windjammers at the San Francisco docks. Whether for work, play or worship, here was a thriving folk-song subculture. Even so, when the Library of Congress issued its recordings in a landmark series, "Folk Music of the United States," the song texts remained the focus, exhaustively analyzed in the scholarly booklets that accompanied the albums, compiled by genre. For example: "Negro Blues and Hollers" or "Songs and Ballads of the Bituminous Miners." For the most part, the performers received scant mention. These elusive folk musicians cast a spell on Stephen Wade, who has spent decades searching for traces of the people who left behind the sounds that wooed him a half-century ago. "The singers and players who fill this book," he writes in "The Beautiful Music All Around Us," "bring together lore and life, drawing from mother wit and the mood of the moment to create in their corners of America their own varieties of street-joy." Full book review here: WSJ

"Honky Tonk" isn't on the box set (you'll have to get the Jack Johnson box for that one), but everything else is, including an alternate of "Mtume." Mixes are from the LP masters. "Calypso Frelimo" could use a remastering--it's always sounded partially submerged to me. I've always thought the mixes on Calypso and HLHM were dictated by the length of an album side: Both were over 30 minutes long, so they needed to compress the sound to fit. The moodiness/murkyness/otherworldliness of the sound contributes to the overall atmosphere of the compositions.

Brace yourself, music lovers: Antonio Vivaldi's "Four Seasons" has come to Greenwich Village. (Le) Poisson Rouge, an ultratrendy nightspot (superfluous parentheses in the original) that bills itself as a "multimedia art cabaret" seeking to "revive the symbiotic relationship between art and revelry," booked a two-night run of classical music's most overplayed masterpiece. Why? Because "The Four Seasons" has been refurbished by Max Richter, an avant-garde composer of minimalist inclination, and recorded for Deutsche Grammophon by violinist Daniel Hope, who played it earlier this week at (Le) Poisson Rouge. And before you bruise your eyeballs by rolling them, here's the real surprise: "Recomposed by Max Richter," as Mr. Hope's new CD is called, is a bewitchingly brilliant musical hybrid that manages against all odds to breathe life into an exhausted warhorse that a great many listeners—myself included—long ago ceased to find listenable. More here: WSJ

I agree with you; music should be heard in public.

I've been very impressed with the packaging of Uptown CDs, especially the booklets. This is one label where the CDs are vastly superior to the downloads.

Have they ever competed, i.e., released the same album?