marcello

Putter Smith With Bass: As Mr. Kidd in Diamonds Are Forever

Ther is a chapter on Shadow Wilson in Drummin' Men the Bebop Years that everyone would enjoy. Fine book.

I'd be interested in hearing that band again with the subsitution of Greg Hutchinson on drums for Ralph Peterson.

Have you seen the article of this woman in the photo that found her recently? You would never know it was the same person. She's been absolutely ravaged by time and circumstances.

A very Happy Birthday to you Chris, and a deep Thank You for your work and sharing your thoughts. Best, Tom Marcello

Jim, I bought this book via Cadence a couple of years ago. Good book and I concur with Mike's comment that it could be more, but then again, It's nice to have it.

Here's a goodin' from a good ol' boy: Mama Tried The first thing I remember knowing, Was a lonesome whistle blowing, And a young un's dream of growing up to ride; On a freight train leaving town, Not knowing where I'm bound, No-one could change my mind but Mama tried. One and only rebel child, From a family, meek and mild: My Mama seemed to know what lay in store. Despite all my Sunday learning, Towards the bad, I kept on turning. 'Til Mama couldn't hold me anymore. And I turned twenty-one in prison doing life without parole. No-one could steer me right but Mama tried, Mama tried. Mama tried to raise me better, but her pleading, I denied. That leaves only me to blame 'cos Mama tried. Dear old Daddy, rest his soul, Left my Mom a heavy load; She tried so very hard to fill his shoes. Working hours without rest, Wanted me to have the best. She tried to raise me right but I refused. And I turned twenty-one in prison doing life without parole. No-one could steer me right but Mama tried, Mama tried. Mama tried to raise me better, but her pleading, I denied. That leaves only me to blame 'cos Mama tried.

I agree. But it seems to me that an artist should not passively rely on the activities of tapers and/or traders and the distribution of these recordings via one on one trades. An artist can maximize the effect by actively embracing the model. Instead of simply allowing taping and trading, maybe the artist can put 40 more people in the venue by actively encouraging the activity. It would be interesting to know whether artists like Greg Osby and Jeremy Pelt, who actually have live performances available as free MP3 downloads from their websites, have seen a real increase in support as a result. I totally agree and have been trying to encourage that on my end. I think I'll ask Osby. johnagrady - i don't think there is a problem with the terms used. I applaud you for your efforts to support the musicians you have supported as a result of taping and trading. I simply challenge the premise that your experience is representative of the majority of the trading community. I have seen it both ways, but I still think that the activity can be as much of a disincentive to attend performances and purchase recordings as it can be an incentive. ← Again, I agree. To totally embrace John's premise is one sided, and radical, but his heart's in the right place. The availability of downloads from artist sites is the best of all possible worlds; for the artist, that is.

Ron, I think there is a small amount of exposure to be gained by a jazz artist via trades. It opens up a few more ears. In the Jazz Business, where putting 20 more people in seats at a venue or selling a few dozen more cds can mean something positive, it's worth the risk.

I like the Vernell Fournier tune on that one: "Armando".

I remember that "Fairyland" had a trio with Chuck Rainey and Bernard Purdie. I liked it a lot when it came out but do not own it now. Havn't heard it in many a moon. I still own the Nelson "Live in Berlin".

Joe Locke & The Milt Jackson Tribute Band The Kitano Hotel 10/08/05 2nd set: The Prophet Speakes Big Town Close Enough For Love Reverence It Don't Mean a Thing Young and Foolish Bolivia Happy Birthday ( done as a calypso; for Joe's Manager ) Opus de Funk Bags Groove Her's a photo of the band: Mike LeDonne, Joe Locke, Bob Cranshaw and Mickey " Big Town" Roker:

Two by Eugene Smith; one of the most powerful image makers ( really a image innovator ) in photography:

Who could forget a name like that! Back to the subject;sort of: I have kids that are 18, 20, 21 & 22. The 20 year old is a jam band fan. One of the ways that these groups market themselves is that they record every one of their concerts. Then they make those concerts available for download (for a fee) or they will mail you a pressed copy of the concert that you attended. Pretty smart, I'd say. That is a viable option for some jazz artists, especially if they use only thier own tunes.

Mike, I'm alarmed that you have not heard the sonic pleasures that are offered by that famous organization called: ANAL CUNT.

joshd, You were making good sense untill this last paragraph. Unless a jazz artists is recording every week, his personal appearance income far outstrip his recording income, and one of the criteia that record companies look for is if the act has a frequent touring schedule. They realize that live appearances fuel cd sales. Which leads to more airplay, which leads to more media recognition etc, etc...

Here's my two cents: Trading of live in-released concert recordings does help the popularitry of a artist. It can get his music in the hands of people who who might not otherwise know anything about him or her, and stimulate new fans to see a live show or buy a commerical recording. In the Jazz Business, in most cases, commerical recordings are co-produced by, or at very least have a great input from, the artists. It is his definitive musical statement, with much work and thought going into repertiore, personel, mixing, and sequence. This is a thoughtful process and is considered the artists's benchmark. Not random live gigs, although those can achieve great music and collabortions that are also memorable; and maybe even important . Commerical recordings, by a far margin, create the demand for personal appearances and generate the publishing income ( if the artist is also a composer) that are the life blood for most; not freely traded cdrs. I don't know of one venue booker who does not gage a artist's popularity by looking at his commercial recording sales and the airplay that they produce. Mainstream business models will always rule . That being said, artists produced music being downloaded from his own site is the wave of the future, but only through partnerships with traditional recording companies and distributorships along with radio airplay.

Thanks for the inclusion of Mingus' Changes One & Changes Two.

It is; on a double cd with Baroque Sketches. I have the original LP but that one does not have the last 5 songs that the re-issue did. Those Jimmy Heaths are great; I have them all and remember seeing that Heath band that is on Love and Understanding on Chris Albertson's jazz show that was broadcast on Public Television. Art Farmer

Frankly, he sounds a bit cranky and a bit out of touch. These is a bigger music scene there outside of tourist trap dixieland joints; playing traditional music also, as cited above, and other styles and hybirds. I agree that by citing Harry Connick, of all people, as the bearer on the N.O. music tradition banner, makes me believe that he didn't take his meds that day. Or he's mixing them with his wine.

When I was a photographer / student, that was always nice to give them a nice print. So often these musicians have a camera stuck in their face and never see any photos. Keep up the good work!

Jeremy is to me quite the original voice on his own projects. He is a great composer and has a unique vision as a bandleader. He has absorbed a lot of the history of this music as well including learning a lot of Freddie Hubbard music. So I guess if you put him on a stage with James Spaulding and Pete LaRoca and play those tunes....those Freddie influences might come through a little more than usual. I don't know about the mannerisms though, didn't really see that (well maybe once). ← This is what I posted: Jermy Pelt did a very, very good impression of Freddie Hubbard, right down to stoping in mid-solo, taking a step back from the mic, then hitching his shoulders and cocking his head before continuing. Mea Culpa in advance.

In all of these years I have only done it once with Art Blakey on this one: He almost crushed me with a hug after he signed it.

Look here: John Scofield - Easytree

This may or may not help: Date: 2002-02-01 Venue: Michelson Hall, Stevens Point, WI Sets: 1 Notes: John Scofield Band Guitar: Avi Bortnick Bass: Jesse Murphy Drummer: Adam Deitch Acidhead 10'20" Snap Crackle 9'05" Boozer 9'20" Jungle Fiction 9'01" I Brake 4 Monster Booty 10'38" Kubrick 9'53