mjzee

I've skimmed the posts to this thread. It seems very few of you have heard Jandek. I've heard his first album (by "The Units," although it's obviously just him), and one later one. It's very sad. Everyone (and I mean everyone) laughs when they hear it, but it's really from a combination of horror and pity. He's obviously incoherent and doesn't realize it. He obviously can't play guitar. He obviously can't write songs. The two albums I've heard sound alike, even though he gives his "songs" differing titles. I suppose he's worth hearing once, especially after the build-up Irwin Chusid and others have given to him, but I wouldn't pay for it. Really, life's too short to spend more than a few minutes devoted to Jandek. Or, to put it another way, the idea of Jandek is a lot better than actually listening to him.

I'm not sure that Proper's put out a box of anyone that's still alive. As to the point about record companies, the owners of all the major indies cashed out long ago (or abandoned their catalogues because of lack of commercial interest). Majors like Columbia and Universal still put out high-priced reissues (the Billie Holiday and Charlie Christian boxes, for example). Concord just bought the Fantasy masters, and I'm sure the 50-year laws figured into the sale price.The story I love most is that Irving Berlin lived to see his earliest songs fall into the public doman. I hope that the major jazz labels will now put more effort into promoting current jazz artists.

U.S. copyright laws protect recordings for 50 years. I would imagine that, as long as Proper is paying songwriter royalties (songs are protected for 75 years), what they're releasing is perfectly legal.

I haven't seen mentioned the reason copyright laws have an expiration date: to put the material into the public domain, so that more people can have use from it. If Proper is producing $20 4-disc boxes with booklet, then people who can't afford a similar $60 box from Mosaic can enjoy and learn from the material. It's similar to the copyright laws for books - it's why we can buy inexpensive works of Henry James, Hawthorne... Go to the Gutenberg project (www.promo.net/gutenberg) and see how many books can be downloaded free.

An interesting contrast between Grappelli and Stuff Smith can be found on a Pablo release of four tracks they did together in 1957, called "Violins No End." I also prefer Smith to Grappelli, finding the latter too sweet, although very easy to listen to. The band is good, too: Oscar Peterson, Herb Ellis, Ray Brown, Jo Jones. (The final 3 tracks have Grappelli only).

Miles' comeback was in 1979, so he was off the scene for four years. I remember seeing his comeback gig advertised in the New York Times as part of the Kool Jazz Festival. I said what the hey and mailed away for one ticket, not expecting much. I got 8th row center in Avery Fisher Hall, probably just because it was a single seat (the house sold out quickly). I remember Miles walking out...he looked so cool. I didn't recognize much of the band except Al Foster. Mike Stern was pudgy, and soloed way too long...Miles liked his style but had to cut off every Stern solo with a trumpet 'blat'...otherwise he would have just kept going. Marcus Miller was great, but Minu Cinelu was too expressive, playing to the cheap seats. Miles wandered the stage, and when something occurred to him, he soloed...it was inevitably beautiful. He also directed the band at the organ. I didn't recognize "My Man's Gone Now" at the show, only knew it was that when "We Want Miles" came out. I didn't like "Star People," thought it was just some drawn out blues jams.

Hi, y'all. Hey, Aggie, thanks for keeping up the thread! You're doing a great job! Yeah, Sco... his new CD is very nice.