mjzee

I wonder how many ECM sessions are in the can, waiting to be released? How old is the oldest one? Does Manfred Eicher stockpile sessions? Has he ever rejected a session, or not issued it because it was sub-par? Are there extra tracks recorded at these sessions, or do the musicians only prepare the exact number of tracks that will appear on the record? Are there alternate takes, or do the musicians always get it right the first time?

October 30: Clifford Brown, trumpet, 1930 Poncho Sanchez, percussion, 1951

$24.49... Amazon

October 29: Zoot Sims, tenor and soprano sax, 1925

I use Office for Mac and think it's fine. It's really the lingua franca these days, especially Excel, so why fight it? I tried the first version of the Apple office suite (iWork) and found it not ready for prime time. I also use OpenOffice when I need to open a WordPerfect file.

October 28: Bill Harris, trombone, 1916 Chico O'Farrill, composer, bandleader, 1921

October 27: Babs Gonzalez, singer, 1919 George Wallington, piano, 1924

October 26: Charlie Barnet, sax, bandleader, 1913 Warne Marsh, tenor sax, 1927

October 25: Chubby Jackson, bass, 1918 Jimmy Heath, tenor & soprano sax, flute, 1926

The iconic Walkman has come to the end of its run. Sony has pulled the plug on the original portable cassette-tape player, Japanese media report. Read more: NY Post

October 24: Odean Pope, tenor sax, 1938 Rein De Graaff, piano, 1942

Also seems to be available from an Amazon Reseller in your neighborhood: Amazon

Also on October 23: Ernie Watts, tenor sax, 1941

Now, can anyone explain what these deals with publishing companies meant, how this worked? Who got the money? The publishing company? And then passed on part/all (?) of it to the composer? Funny you should mention it. There's a long disquisition on the publishing business in the new release Bob Dylan - The Witmark Demos, which I got yesterday. Here's the relevant few sentences: Music publishing is the music industry's big secret. It's where the money is. For decades, it was an adage in the business that singers come and go, but songs are forever...Here's how it once worked. Song publishers made money four ways: folios (sheet music), record royalties, performance royalties, and synchronization (movie and show royalties)...Record companies paid publishing companies a "mechanical" rate for every record pressed...two cents per song...usually split 50/50 between the songwriter and the music publisher.

What you sense as smugness from Apple owners is simply relief, the not having to worry about viruses, the painless using of a computer, and the pleasure of experiencing everything working as expected. Really, these Apples are wonderful machines. I often get a sense of delight from using them. We have 2 iMacs, an iBook, an AirPort, some iPods, and now an iPhone. As for software, yeah, bite the bullet and buy Mac versions of those programs. Get it past you. I have Fusion with Windows XP loaded for those PC programs I occasionally need to access, such as WordPerfect, but after awhile, I was only using it to play FreeCell. I haven't powered it up in a while. If anyone knows of a Mac version of FreeCell, please let me know. Or perhaps not; boy, that was a lot of time down the drain.

October 22: Clare Fischer, piano, 1928 Giorgio Gaslini, piano, 1929

October 21: Don Byas, tenor sax, 1912 Dizzy Gillespie, trumpet, 1917

What, no love for Alphonse Picou? October 20: Jelly Roll Morton, piano, composer, 1890 Carl Kress, guitar, 1907

October 19: Alphonse Picou, clarinet, 1878 Eddie Daniels, clarinet, 1941

October 18: Anita O'Day, singer, 1919 Wynton Marsalis, trumpet, 1961

Here's the rest of the series:

October 17: Cozy Cole, drums, 1909 Barney Kessel, guitar, 1923

There's a review of the NKC Hep in the Wall St Journal: WSJ

October 16: Roy Hargrove, trumpet, 1969