mjzee

Maybe they can provide details on the 2 iTunes downloads.

I just sprang for the Benedetti Bird box. It's backordered, though.

Yes, Keith and Ra were hardly unique in the 60s/70s in that sort of talk (I blame cheap paperbacks of Sanskrit texts and the like). They clearly believed that they were part of whatever master plan the creator had. Now where are those Alice Coltrane records.... Any rock fan who enjoyed Yes albums in the early 70s and, more to the point, was convinced that Jon Anderson's lyrics held a key to the universe was a natural for Jarrett's philosophising. Would certainly have been far more appealling to the spirtual seeker in '76 than Johnny Rotten's! Even Frank Zappa got into the act. Didn't he have a philosophy that people, and maybe the universe, are made of strings?

Very cool. Thanks.

I don't know, sounds to me a little like Sun Ra. Here's a quote from the Ra-staman: "People have two harps in their head, their ears, just like a harp. They hear by the strings in their ears. If I play something very strange, then some strings that never vibrated before will vibrate. The whole nervous system will become alive."

For Mac software, I can highly recommend Amadeus Pro. It's not free, but it's relatively inexpensive ($40), and does a great job. The owner/programmer is accessible, and does listen to suggestions.

It's interesting you say that. I recently bought the great box set "Hitsville USA: The Motown Singles Collection 1959 - 1971." In the booklet, it said this about Marvin Gaye: "In his artistic heart of hearts, Gaye longed to be a troubadour, the next Nat King Cole or Perry Como, singing standards by Rodgers and Hammerstein, Brecht and Weill. He even told confidant and biographer David Ritz at one point, 'I never wanted to shake my ass... I wanted to sit on a stool and sing soft love songs.'"

I only know one song, "Sweet Bitter Love," that I heard on a Columbia sampler in the mid-60's. Stayed with me all these years. Killer track. I'd buy a Mosaic (but leave off the gospel).

I've always enjoyed this album, originally released in the U.S. on Inner City: Panama Francis & his Savoy Sultans

Also re swing, check out: New Dance (from Nude Ants) What Is This Thing Called Love (from Whisper Not) Autumn Leaves - Up For It (from Up For It)

I don't much care for his sound or his conception. I often think he kills the groove of tunes he plays on, for example, on "Blues and the Abstract Truth." While I give him a chance, I often just turn him off. Having said that, I don't post on Dolphy threads about how much I dislike him. I simply sidestep that thread. I wish others would do the same with Jarrett threads. I thought we're all grown-ups here - no one is hurt reading contrary views about their favorite musicians. No one should have to bite their tongue about a subject they want to comment on. Come on, Dan. The tone, and the comments, are the same in every Jarrett thread. They don't leave room for people who do like his music to discuss. It's the equivalent of farting in a crowded room - it drives everyone out. Being grown-up also implies self-restraint.

I don't much care for his sound or his conception. I often think he kills the groove of tunes he plays on, for example, on "Blues and the Abstract Truth." While I give him a chance, I often just turn him off. Having said that, I don't post on Dolphy threads about how much I dislike him. I simply sidestep that thread. I wish others would do the same with Jarrett threads.

I agree. It's amazing that there's such a need among some posters here to deligitimize the entire idea of Keith Jarrett, as if he should be wiped off the face of the earth. There are many other jazz performers who are obnoxious in their own way, Eric Dolphy comes to mind, but when there's a new Eric Dolphy thread, people are left alone to leave positive opinions. Jeez, it's like a dog gnawing a bone. Give it a rest! We get it - you don't like Keith Jarrett. Now go away!

The pond outside Keith Jarrett's home in rural New Jersey is frozen over. Inside the jazz pianist's 18th-century farmhouse, life appears similarly suspended. An expectant silence reverberates against the walls of vinyl LPs, CD boxes spilling off sofas, towers of stereo equipment bristling with cables. Next door, in the converted barn that houses Mr. Jarrett's recording studio, a pair of Steinways and two harpsichords cower under black quilted covers. In the weeks leading up to a solo improvised concert, Mr. Jarrett retreats into creative solitude to empty his mind. More than 30 years since his first fully improvised solo album, "Facing You," he continues to be the only pianist to offer evening-long concerts of music created out of nothing. He records every such concert, preferring a recording to any attempt to notate and transcribe his music. The recordings thus become the authoritative source for his "compositions." Tonight, he will play at Carnegie Hall, his first North American solo appearance in more than three years. How does he prepare for such a tightrope act? More: Keith Jarrett

I was going to order, but they're no longer offering 2 of the 3 I was interested in (the Marsh and the Braxton).

I wanted to share this: I went to Ungano's, a small club on Manhattan's upper west side, in December 1970, to see a double-bill of the Captain and Ry Cooder. Tiny club. The Captain was in the lobby. He was in his stocky phase, looked like he did on the cover of Trout Mask (but not the hat; maybe a different hat, I don't remember). I was awestruck. I asked for an autograph, pulled a piece of paper out of my wallet. This is what he wrote.

I'm curious as to how safe these downloads are. Has anyone had problems with viruses, hijacked computers and the like?

Thanks for posting that, Larry. Loved her delivery and phrasing - reminded me of Annie Ross.

Please post a link to the YouTube video.

On the Outside Looking In Bob Dylan’s Journey Through Hollywood By Jesse Jarnow Bob Dylan was already rather fond of self-reinvention when, in early 1964, he arrived in Hollywood, metaphorically, via the photography of Barry Feinstein. There, for a moment, and only a moment, he transformed into the poet that people frequently still want him to be. “Hollywood Foto-Rhetoric: The Lost Manuscript” — the recently released book in which Dylan’s words accompany Feinstein’s early 1960s work — is the remarkable document of that moment. In large regard, “Hollywood Foto-Rhetoric” (Simon & Schuster, 2008) is journalism. Dylan and Feinstein are merely correspondents reporting on the end of the golden era of Hollywood from the perspective of the emerging world in which they are participants. By ’60s standards, their scope is modest. But the book is also art, directly executed and informed by a new worldview with complex roots perfectly exemplified by Dylan himself. For more: http://www.forward.com/articles/14938/

What's it like? Johnson and Baron are a mean team.

I remember when it came out. The box frequently came unbound from the pages. Beautiful paper on the cover, though.

This one hurts. RIP, Fathead. Acknowledgement should be make of the great streak of albums he made for HighNote. Consistently high quality. The lion in winter, indeed.

That makes more sense.

Nah, I don't think so. It just doesn't follow from the lyrics: He's complaining how she treats him, says she's been replaced, yet says he's making her hot? The lyrics more sound like he's kicking her out.