Leeway

I thought I'd throw this article into the mix: http://www.salon.com/2014/07/20/its_not_just_david_byrne_and_radiohead_spotify_pandora_and_how_streaming_music_kills_jazz_and_classical/ Basically, the article asserts that jazz and classical artists are being cheated and/or beggared by streaming services, and that their income, already mostly minimal, is further eroded by these services. Also argued that the labels benefit from the arrangements, but the financial angles of these deals are opaque, with the result that artists get screwed. I find the example of Pi Records, which is the label for Threadgill, Lehman and others, withdrew from streaming services and found its revenue increased.

The nature of this music is that most stuff is necessarily limited. For example, a lot of NoBusiness LPs are limited (as stated) to 300 copies, and even at that most have not sold out yet. Most CDs are pressed in less than 1,000 amounts. Limitations in the thousands are mostly meaningless. However, there is a principle here that should not be discarded. When something is sold as a limited item, especially when the explicit or implicit assurance is given that once that limited supply is exhausted, the item will be O/P, then I think it is, to say the least, a very dubious business practice to later sell the same product in the same or slightly different form, and often for less. We rely on the representation made by the label; when that representation turns out not to be true, it is natural to feel cheated. It is no different than any other "come on."

I still haven't figured out personal photos (i.e. stored on my laptop). Any guidance?

Discogs and Okka Disk say 999. I have #299.

The Pogues The Fugs The Stooges

I don't see it there now. Someone buy it? (I already have the box).

Just finished it. Not bad as a novel, and the Spark biography shows how it came out of her situation and preoccupations at the time. What has been your favorite Spark novel so far? I figure she is someone I will get around to, but I have quite a few others ahead of her in the queue (Dorris Lessing being one). I've read six and my favorite is Prime of Miss Jean Brodie, so no surprises there. BillF, kudos to you on taking on "The Comforters." Question: who are the "comforters" and who is being comforted? Does the biography address that? The choice of that title remains a mystery to me too. I guess Stannard doesn't have an explanation either, as I don't recall my question being answered by the biography. I checked that Alan Bold critical study of Spark, and he says: "Deriving its title from the discomfortable comforters in the Book of Job, the novel puts Caroline in a distressing predicament." The predicament basically is that Caroline has to suffer through her torments alone; there is little true succor to be found with others.

Let me add/clarify just a bit more: Okka sells only Okka label products, which include Vandermark, Brotzmann, et al. Catalytic sells releases by the artists involved, some on Okka, others on various labels like NoBusiness, SMJZ, etc. So its artist-centric, not label-centric. So if it is on Okka, you can probably compare sites. If it is not on Okka label, it will likely be on Catalytic. Catalytic also carries some tough to fin items. I hear what Colinmc is saying, and that is certainly important, but sales at Catalytic help those musicians continue to get some revenue and thus continue to make music. Just wanted to throw that in. Sorry for the labored explanation.

The Clash The Violent Femmes The Stranglers

No, Catalytic and Okka are separate entities, although there is a lot of crossover among the artists. Catalytic is owned and operated by the artists listed on the site (Vandermark, Brotzmann, et al). Okka is a separate label, different owner. I suppose you can order from either, depending on your preference and availability of items.

Just finished it. Not bad as a novel, and the Spark biography shows how it came out of her situation and preoccupations at the time. What has been your favorite Spark novel so far? I figure she is someone I will get around to, but I have quite a few others ahead of her in the queue (Dorris Lessing being one). I've read six and my favorite is Prime of Miss Jean Brodie, so no surprises there. BillF, kudos to you on taking on "The Comforters." Question: who are the "comforters" and who is being comforted? Does the biography address that? I would agree with BillF that "The Prime of Jean Brodie" is her best work. Following, in my order of preference, are: "The Girls of Slender Means" "The Ballad of Peckham Rye" "Memento Mori" "A Far Cry from Kensington" (1988, but hearkens back to her early work; indeed, if one did not know the dates of publication, one would likely think it was among that first group of novels. I still have a few more to go, but I doubt they would dislodge any from the top group above. Regarding "The Tin Drum," that is where I left it, about half-way through; rare for me to do that, but there was something about Gunther Grass' authorial sensibility that got to me. I hope you do finish it, so you can give us an appraisal of the whole work.

If you've already received the latest Catalytic Sound email, you'll know that some cool reissues are out: Long OP 3 disk set now available again. Definitely grab this Atlanta Brotzmann. DKV - BARAKA.

Donovan Leitch Sir Bosdin Leech Edmund Leech

Went up to Baltimore last night for an evening of electronic music at the Red Room. Three performances, in order: 1) Terrence Hannum; 2) Charles Dube and an unidentified female flautist (NO announcements were made for the whole evening); 3) Jason Lescalleet. Let me consider 1 and 3 first. Hannum appears to use old reel-to-reel tape decks for his sound. Hard to describe the sound; sort of a multi-layered electronic hurricane. He also sings/wails/yells directly into a mike connected to a mixing board (?) with the result that one doesn't hear his voice directly but as a sort of strain in the larger mix. Volume was quite high. Lescalleet, who reminded me of (dare I say it) Tim Berne, eschews any vocal effects, and his instrument of choice is a laptop. He also has a tendency to use various bits and pieces of existing sound, old pop songs, creaking doors, etc. He also planted some little devices planted between the audience and the stage that "detonated" near the end of the performance; a bit disconcerting. Volume also max10. As for Dube, he had a much simpler electronic set-up (I couldn't quite see it, it was mostly in a small box); he also played some violin, while an unidentified co-player played some flute. Frankly, neither played very well. There was a fairly good crowd there, which tells you something or other, and most were there for Dube, which tells you even more. I know there are some fervent fans of this music out there, but I'm afraid I'm not going to be a convert to the cause. For one thing, there is no human signature to it, either agency or vehicle. I need more than sensory effects when I listen, not just atmospherics. The works that were performed did better when they were sound manipulation, and not sound effects. A creaking door, or some old scrap of music, really? I suppose it's ironic or something, but sometimes you have to say something. In this respect, Hannum was more successful than Lescalleet, who carries the bigger reputation. Lescalleet did manage a massive soundfield near the end of his performance, which was kind of impressive on a strictly sensory level, but at the volume he had it, some folks made their exit early. Cutting the sound level in half would actually serve the music better, but allowing listeners to listen into it, rather than running from it. Obviously, I'm not an admirer (although I went with a sincere intent to listen openly since I've heard so many positive things from friends), and it was also a long day (and night), so you may take what I say and gleefully disregard it. I do like (sometimes) electro-music when it is integrated into acoustic music; one can get interesting performances. But even then, it doesn't always carry the weight assigned to it. It's not a talisman; it has to earn its way.

Another pre-order on that one here.

Toad the Wet Sprocket Mr Spock Dr. Spock

Yes, Kent Carter has been part of some amazing and historic ensembles. It's almost a shock to see his name on a current release. Perhaps I just haven't noticed. I'll have to look around to see if he's been active in other groups lately.

I think the line-up shifts, but this is what it was in May 2014 at an Issue Project Room performance: Peter Evans - trumpet, piccolo trumpet, compositions Ron Stabinsky - piano Tom Blancarte - bass Jim Black - drums Sam Pluta - live electronics

Here's some information that has come my way on the Evan Parker tour in September 2014. Some changes. SInce there is some overlap with Peter Evans residency at JACK, Brooklyn, I'm including that information as well: The gig with Ned Rothenberg at the Zurcher Gallery has been cancelled and one with Peter Evans has been added Peter Evans' Residency at JACK, Brooklyn September 26-28th. September 26th Peter Evans/Evan Parker duo Peter Evans Quintet September 27th Peter Evans/Joe McPhee trumpet duo Peter Evans Quintet September 28th Peter Evans Quintet (2 sets)

Agreed on "Going All Fancy." Really like that one. On the new NoBusiness, yes, that last one looks incredible, but the middle one, "Plaything," has interest too. When I think of Kent Carter I think of Steve Lacy, which immediately gets my interest. So that's one I'm awaiting with keen interest.

Thanks for the heads-up, I'll check it out. I gave that one a spin yesterday as well. One of my favourites. I also like the duet record he did with Greg Goodman around the same time. You probably know but I'll just throw it out here, that the "Vaincu. Va! Live at the Western Front" was recorded within a week of "Finger Palace," i.e., Parker is playing at the same high level on both.

What is your opinion on this one? I'm planning on doing an order from NoBusiness after my vacation in august, and this one is on the "maybe" list (as I'm definitely going for "The Freedom Principle" album with the same line up) Just got it, have given it a couple of listens, and I think it is pretty good. A high energy album. Amado and Evans go at it hammer and tong, reminded me of Peter Evans and Evan Parker on "Rocket Science." I think you would like it. WP: Another new arrival: MALUS - Nate Woley (tp, amplifier), Hugo Antunes (b, amplifier), Chris Corsano (d, amp). No Business LP. First listen, I liked Side A quite a bit, but Side B seemed to me to not get off the ground. I owe it some further listening though.

LIVE IN LISBON: Rodrigo Amado Motion Trio & Peter Evans. No Business LP.

Thanks! When I saw there were topics about Berne, Parker etc I just had to join in. I'd highly recommend the Trio set, no worries with the dual drummer scenario, it works beautifully, as it should with those two players. The packaging is secondary but it's good to hear that the "Duets" set is packaged nicely as that's in the queue. I placed the Trio order this morning with Amazon, which had it for $37.19, includes free shipping, not a bad price. I'll work around to the duo box eventually. I'm particularly keen on the duos with Katherine Young.

Walter Sickert Doctor Demento Doctor Caligari