mjzee

I guess I singled out ECM because I don't think I need much explanation about, say, a hard bop date: I understand the tune structure, what the players are trying to accomplish, and I have a pretty good idea about the individual sound and approach of the players. But I can listen to an ECM track and say, what is really going on here? What are they trying to accomplish? Is the point of the tune the pulse, the mood, the textures, the interplay of the players, the composition, was there really a composition? Since I assume there was an intention there, it would be nice to have some entree into the thinking, since I think it would increase my enjoyment of the music.

I think many ECM releases should come with liner notes, as a way to give listeners a way into the music. I know liner note writers are often maligned, but a good essay can give guidance to what the music is about. For example, John Abercrombie's "Cat 'N' Mouse" album. I was listening to the track "Third Stream Samba," and wondered, what exactly am I listening to? It's not a samba, I wouldn't necessarily associate it with third stream, it sounds like your basic amorphic ECM track (where you know that there's a composition there, but where exactly is it?). If the album had liner notes, with maybe a conversation with Abercrombie, he could discuss his concept about the track, where the title came from, what he thinks of the playing on the track, etc. And other questions, such as how the players got together, what's the meaning of the album title, is the cover a generic blurry ECM photo or does it have a relation to the date, etc. It would really help me, and might also help distinguish one ECM title from another.

I do think the music on the first 2 discs of the box (1924-1928) are exceptionally tinny. If anyone knows of a better version, I'd appreciate the mention.

My post was intended to be humorous.

My point exactly...

Still waiting...

http://www.organissimo.org/forum/index.php?showtopic=53839

OK, then, to put this conversation into perspective: What is the cheapest alternate way to acquire the music on the 40-cd boxed set (in better sound), and how much would that cost?

Well said, Jim. I'm not sure that Miles ever really sold out. It's like his '60's albums stated: "Directions In Music By Miles Davis." Miles was one of those few people who directed the music where it would go. He didn't decide that Kind Of Blue, In A Silent Way, or Bitches Brew would be hugely influential; he simply went into the studio and created the music. I'm thinking of a comparison with Lee Morgan, who was great, had wonderful chops, and made music that I love. But he didn't move the music in any particular direction (maybe once, with "The Sidewinder"). And Lee also did nod to the music of the day, whether it be show tunes (on "Standards"), modal, or Coltrane-esque. It's not just about being a musician and having to make bread; it's also about being in the music that's around at the time, and being happy with it.

"Red" also seemed hurried and unfinished to me when it came out. It seemed put together by a group that was about to split up. Also, it lacked the gorgeous graphics of prior albums. And why was David Cross on the album but not on the cover? Clues, clues...which of course affect perceptions about the music. And I didn't get why there was a song called "Starless"...shouldn't that have been on their last album? I saw them when this came out, at the Schaefer Music Festival in Central Park. The show was excellent (and David Cross was in the band). Was there an album after this one with this band? Or was the next iteration the one with Adrian Belew?

Perhaps it will. It seems that, with other artists, everything gets remastered as part of the process of creating the boxed set. Then they release the individual titles.

I know this article is peripheral to jazz at best, but for those who know Sri Chinmoy as John McLaughlin's guru ("Mahavishnu" and all that), you'll probably find it interesting: Before she was even born in 1970 at Norwalk Hospital, Jayanti Tamm was declared the chosen disciple of Sri Chinmoy, an Indian guru living in Queens, N.Y., who proclaimed he was the last avatar. For 25 years, Tamm served as Chinmoy's "Chosen One," until after years of trying to leave, she was banned from the cult. More here: The Stamford Times

If you put on one of these CDs and you think it sounds mediocre, then you don't love Duke. Yes, true audiophiles can recognize a fraction of a percent of increased pleasure by spending a lifetime and a fortune hunting down alternate issues, but the great, great music is here. Thanks, Randy. I'd also like to put in a good word for those folks for whom price is a consideration (but not the only consideration). I can't imagine how much individual discs of better sound quality would cost. To get 40 discs, with decent sound and good discographical information, for such a low price is an achievement in itself, and is probably good enough for a lot of us.

I'm told this has better sound quality, also on Yazoo: Blind Willie McTell

I don't remember who recommended it, or in which thread, but I want to thank that person for recommending this: Side 3 has an amazing live version of Ornithology that I had years ago on an Everest LP, and have been looking for ever since.

I recently picked up these two JSP collections, both at attractive prices: The Paramount Masters Mississippi Blues

My order was also placed July 4. No change in status. But I included non-Fantasy product; perhaps they're waiting for those titles.

I don't think you and I disagree by much, okierambler. eMusic might still be "a bargain" compared with iTunes or Amazon, but only if you intended to buy those titles anyway. And my decision to quit is definitely informed by the fact that there's not that much more I need to download from them. That could change if they began carrying ECM in the U.S. - then I could see my 50 tracks for $20 (what they wanted to switch me to) buying me 6 - 7 albums a month. But I don't think they'll carry ECM as long as they're distributed by Universal in the US.

Mine is "still waiting for backordered products."

I've owned the Duke 40-cd box for many years now, and am very glad to have it. $99.99 is a good price (you can also get it thru Amazon here). Amazon states it's been discontinued, so you may want to hurry. I think it's fairly comprehensive through about 1943-44, then its more spotty. And it doesn't have the "Soundies," Fargo, The Treasury Shows, and the like. Sound quality is decent throughout, and it does come with discographical information, but not label information. This makes it a little difficult to figure out exactly which version of "East St. Louis Toodle-Oo" you're listening to.

Thanks for the post, okierambler. As I'm sure you're aware, I wasn't referring to eMusic's making a profit in my sentence you quoted, but rather IODA. To paraphrase what I said in an earlier posting in this thread, while eMusic may have paid artists half of what iTunes or Amazon pays, it's very possible the artist earned more through eMusic in the long run (because of people downloading tracks because "it's so cheap, why not?", when they wouldn't have purchased these tracks otherwise). For example, look at ECM - they seem happy to offer their titles on eMusic in Europe, when they've been available on iTunes and Amazon for awhile. As for eMusic's operating at a loss, most new online business ventures plan to operate at a loss for the first 5 years, to build a customer base. Twitter can't even figure out how they're going to make money.

There's an interesting aspect to how this could play out. IODA has licensed its songs to eMusic for many years. This says to me they were making money at the old rates. Sony examined IODA's books before it made its investment. The new eMusic rates affect all of IODA's music, including non-Sony titles. Sony will therefore be able to see whether they make more or less money under the new eMusic price structure. In other words, Sony may have a stake in ultimately having eMusic lower their new high prices.

Yes, that makes sense. A lot of eMusic's offerings come from IODA. I'm sure they made them an offer they couldn't refuse. And I'll bet that on some level, Sony sees eMusic as a counterbalance to iTunes' near-dominance of the download industry - Sony needs to nurture the competition. They just want to make money at it too.

Years ago I spoke to someone "in the know" and he said it isn't surprising there isn't more material the way Alan Douglas ran his sessions. Interesting. John McLaughlin's "Devotion" is only about 30 minutes long.

He did Capt. Beefheart's Safe As Milk cover: