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felser
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Posts posted by felser
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James Brown is the funkiest man who ever lived.
Now THAT'S an assessment we can ALL agree with! Good place to end the other conversation and move on.
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My uncle (whom I've never met) also works at Siemens.
And 450,000 other people do, too.
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As far as profitability, if LoneHill and Fresh Sound and Proper can figure out how to make jazz reissues work economically, the majors could if they wanted to.
Well the majors do often pay royalties and I suspect always pay songwriters. (The fee is set by congress!) And when American independants put a lot of time, money and effort into reissus such as the early Charles Mingus box from UpTown they are often ripped off by the likes of Lonehill and Proper. (Ask Nessus.)
It's also not a matter of making a profit. It's a matter of making a larger profit than if you invested the money elsewhere. If you're not doing that, you are doing a disservice to your shareholders. I know that sounds like a sucky way of looking at things to many people, but it is reality. I certainly prefer to see bigger rather than smaller appreciation in the stocks that I own.
Privately held labels don't have this constraint, which is why you see more product of interest to us coming from them.
You're right, of course, on the reality of how things DO work as far as ROI and shareholders. I work for Siemens, all $80 billion in revenue a year of it, so am much too painfully familiar with the concept, live in the world of "What will maximize our returns THIS QUARTER?". Wish the NEA would underwrite some jazz reissue programs or something. Something happened with that Uptown Mingus release where it had to be pulled from the market for some legal reasons. I never did get the whole story. I'm sure someone will chastise me and pull out a link on it from way before I was involved with this site.
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Alfie, the only back up you need is a cpl steps-- a cpl more steps-- ONE more-- & into a puddle, a pool, a lake, a river-- something that'll wake yr dead ass up, dipshit. You front abt Startime pix, well diggity doosh-- there are plenty of other ways. You are witless, dreary & need to shut the fuck up a few (a few more) years, listen hard, & travel, if possible, before even faking such surety. I ain't thrilled to break it down like this, boy, I'm feeling generous. You can PayPal my mentor fee c/o the ACLU, gracias. (Big ups to Little Willie John regardless--
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[continuing]
while sometimes a useful rubric-- esp. for weeding out simps stoops & dolts (see above)-- the North <---> South dichotomy is far too reductive in ways that tend to favor Yanquis' more 'liberal' self-perception. tho' diminished, both the regional & local still persist, esp outside the increasingly marginal(ized) Brutha' <---> Ofay dialectic. this ain't to dispute much of Kali, tho' I'd insist we need to be detailed (& I suspect he'd agree) but I do suggest Northerners check it before gettin' all down on South. segregation was one thing-- everything else is... everything else & the riots in Harlem & Brooklyn before MLK Boulevard was finished don't get mentioned often enough, tho' Detroit and Los Angeles and Newark, etc. were more spectacular.
from what I know of East Texas-- which is somehting tho' not nearly as much as Elder Sangrey-- it's a verrrrry regional, localized area (outside Houston) to this day. Nick Tosches did a George Jones piece once that limned things pretty well as Tex points out, that area is a swell place for some folks to hide-- those who don't like that can (& do) git the hell out. That doesn't let anyone else off the hook either, however, whatever words were hot at diff places, times. Who killed Fred Hampton? Or, Who Killed George Jackson? which I recommend way before ANY known documentary, not that I'm dismissing that at all, just that book, by Jo-Durden Smith, is far too obscure for it's quality & the questions it raises-- which ain't just the one posed by the title by a long shot.
re: the Pantha's, yah I've known some to greater & lesser degrees. one dude was Oakland native & poet, taught in the Cali prison system a long time too. At one point, I probably read every primary source book there was & sampled a good bit of the other literature (underground press).
Tex & Kali, ya'll know Ringolevio by Emmett Grogan? without preface or qualification, i strongly recommend it, tho' we can discuss what it is, "means" after that.
okie doke, OUT-- Kali, yr a swell cat so I'll was goofin' Hannibal Marvin Peterson cuz I thought you'd understand. He does live in BK (last I checked) & he's still a race man-- understandably so, tho' that shit's still pretty misunderstood also.
Promise Is Comfort to a Fool,
Doc
Doc,
Recommend you make a choice here. Do you want to spend your posts addressing the discussion at hand, in which case a few people may keep reading your comments, or do you want to spend it dissing anyone who doesn't meet your qualifications of "authentic", which to varying degrees seems to be most anyone that would dare question you on anything. If your posts keep being of the latter variety, you'll deservedly lose your voice here, through the "ignore" options, either on the site or in our heads.
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I was just yanking your chain.
Figured that was the case, but since I'm the guy selling the box, I want to make sure I'm honest with everyone about it. Not every Henderson album on Milestone was a joy, some were painful to experience, but they were like the little girl with the curl, when they were good, they were very good indeed, and that was most of the time (and all of the time early on).
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Frankly, I find this set vastly overrated.
Parts of it in the later years are not that compelling musically due to the trends of the times, but the box is nonetheless valuable as a time capsule of the evolution of the music (for better and for worse) throughout the era, and much the earlier stuff is wonderful indeed, and the tenor playing is fabulous throughout. It's not something like the Art Pepper Galaxy box where every cut demands to be played again and again, but it's a nice set on many levels and I'm real glad to have it. Almost worth the price of admission for the In Japan stuff alone.
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Whatever one may say about record companies in the past, and that's what they are, the past, it is not their fault that technology is changing so rapidly.
I don't think that reissuing Gary Mcfarland sessions top is their priority now.
This isn't a case of our desires pulling the companies into a new format, it's a matter of the companies attempting to push us to a more profitable business model for them. Since the advent of 8-tracks, the market has always supported two recorded formats, one archivally superior (LP's, replaced by CD's), and one more portable/convenient (8-tracks, replaced by cassettes when Dolby noise reduction became commonplace, replaced now by downloads). The argument that downloads are a technological advance to replace CD's is not valid. As far as profitability, if LoneHill and Fresh Sound and Proper can figure out how to make jazz reissues work economically, the majors could if they wanted to. They're just greedy, don't want to be bothered with anything that doesn't offer the chance to generate big bucks. I'm willing to wait for the time the European copyright laws (and why do board members consider those somehow less valid than US copyright laws? They're more sensible) make titles available for European reissue by the LoneHill's and Fresh Sounds' rather than paying top dollar for the inferior download product Universal is foisting on us. Reissuing Gary McFarland sessions matters to the European independents, and I'm glad for that.
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Ironically, JB had nowhere near the influence on my (white, middle class, teen) consciousness at that time that Dr. King, Curtis Mayfield (especially "Choice of Colors", but also "Get On Up", and in the moral arena "People Get Ready" and "(If There's A Hell Below) We're All Gonna Go", and other songs) Marvin Gaye ("What's Going On", the song and the album), and Sly Stone ("Everyday People", "Everybody Is A Star", even "Dance To The Music") did, just to further muddy the argument/discussion. And you haven't fully experienced the dialogue until you've read Dave Marsh's writing on how Smokey Robinson broke him of his rascist upbringing through the humanity conveyed in " You Really Got A Hold On Me".
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I agree with that, except that I think you have to answer the "important to who" question first.
It's when you get to ranking unquantifiable items that I lose interest (and in this case, it also seems rather distasteful to me). I think we may be in agreement on that point as well.
Yes we are.
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PM and payment sent!
Set sold to Yves, thanks.
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Eight CD box set containing all of Henderson's Milestone recordings, contains 12 complete Henderson albums and a host of sideman and unreleased cuts. Two of the CD's (#2 and #4) have very slight nicks which do not affect play. The other six discs and the book are immaculate. The outer box has slight wear on the bottom corners, but is in fine shape. Most of the music on this box has never been released on CD in any other format in the USA, and maybe never will be now. Essential set for any serious jazz collection (this is an extra of the set I have). About as good a picture of the trends in 60's-70's jazz as you could hope for in one package and, it goes without saying, majestic tenor playing. Best reasonable offer in cash or trade. Email john.felser@verizon.net or PM me if interested.
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If you really must have the "most important black people/black Americans of all time" discussion (which, for the record I think is fundamentally misguided, but no time to go there), I think there are a few things that need to be set straight in order to make the conversation somewhat meaningful and to minimize the risk of the project becoming offensive.
First, what makes a person "important"?
Second, what makes a black person in particular "important"? Are there different criteria for blacks in particular? If so, why?
Third, important to who? Americans? Humans in general? Other blacks? (For instance, if the answer is "Americans," you might have a better argument for J Robinson than if the answer is "humans in general.')
Fourth, are we really talking all time?
This isn't a conversation I mean to encourage, but if it's going to happen, then I think that these issues have to be addressed.
I also have no need for the " five most important" discussion, but I think the "what makes a person important" question is pretty fascinating.
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Clem=complete fucking joke
Disagree, I think. While I often don't "get" his posts, and often don't agree with them when I do get them, I find them passionate, thought out, and worth reading. To quote Clem himself, when I read his postings, I come away with "equal degrees of admiration and bafflement". And I did appreciate that he was able to get through two long posts this morning without once using the f*&% bomb!
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I'll take it! PM sent!
Monk DVD to Mark, compliments of the season!
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I have a legit extra of the DVD portion of the "Monk in Paris" set to give away. Also comes with the booklet from the set. Recorded in Oslo 4/15/66. Monk/Rouse/Gales/Riley doing "Lulu's Back in Town"/"Blue Monk"/"Round Midnight". Running time is about 25 minutes.
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(the CDuniverse purchases have slowed down for y'all, haven't they?)
What the philosophers would refer to as a "necessary consequence" of what's being discussed in "Are jazz reissues dead?".
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Thanks for mentioning the notes in the Tolliver Select. I haven't bought that one yet. I bristle because I have all but the unreleased material on lp and on cd and I don't want to have to buy it . . .again!
Lon, buy it for the remastering and the unreleased stuff (which is substantial, about two albums worth), and sell your old stuff on ebay, which will pay for the new set. It's well worth the effort.
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When you have music after it's downloaded, it's gone, in the air.
You can never buy or sell it again.
That sound bit at the end of 'Last Date' is chilling! My absolute favorite Dolphy album, bar none, especially "You Don't Know What Love Is".
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I really liked the Van Morrison, Rory Gallagher, and Suzanne Vega Montreux DVD's. CD-wise, Beth Orton 'Comfort of Strangers' and the continuing 'Instant Live' series of Allman Brothers concert CD's are the ones I can remember right now.
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You are aware that we're talking about Chewy here, aren't you?
Yep. I like Chewy from some good dealings we've had offline exchanging CD's, hope to see him learn to post in a way where he will be able to gain some credibility in the neighborhood rather than being dismissed out of hand. He's a good guy.
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To me, amature musician/historian/asshole, American musicians deal with rhythm in either a pre-JB kinda wasy or a post-JB kinda way. It's that simple, "Brand New Bag" actually was just that. Whether that makes him top 5 whatever depends on whether you think rhythm is more important than politics...
In any case, a great loss.
My personal story - I was in a hotel in Walla Walla WA in the spring of '66 while my dad was interveiwing for a job there and the one thing that sticks in my mind about that trip was seeing JB on TV. He did "Please Please Please" and "Night Train" and the whole capes thing and I was just fascinated (I was 11).
Oh, and I fail to see how ragging on obvious hyperbole for being, well hyperbole, is interesting or useful...
Right, by all means, let's not encourage people to think before they talk, or seek any proper perspective, let's just escalate name calling. After all, we got da rhythm (pre and post JB). What else could possibly matter?
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Yes, the Verve Vault offers out of print cds, and Impulse and Verve etc. downloads of cds formerly available in Japan. (It's a great deal. . .10 bucks or less for a clone of a cd that was 25 dollars or so when available at US retail stores!)
So all I'm waiting for is for this stuff to be made available over here.
Yes, I download MP3s all the time MG and burn them onto an audio cd. iTunes lets me choose to burn an audio or an MP3 cd. . . .
So, what's the problem, Clem?
frankly, i hereby DO criticizice ALL ya'll who are paying $$$ for mp3 unless yr lobbying for lossless as well. i don't bother at all-- i'd rather NOT have something but than some compressed digital crap. (which i do listen to on an ipod but ** by choice **, & the cd or whatever is at home.)It's no good you saying "I criticise". What's the problem? (And please remember you're talking to a tech idjit.)
MG
The problem is that the same $10 that used to buy a digitally remastered CD with bonus tracks, historical liner notes and enhanced packaging is now the going rate for a bunch of compressed mp3 files which have to be downloaded and burned onto a greenback CD-R which is more vulnerable to problems than a real CD, and there is no art, bonus cuts, historical essays, etc. I have so far refused to begin paying for downloads, and at $10 a pop, it should be pretty easy to keep my resistance. I will have no sympathy for the majors and will gladly pay for the CD's on Proper, Definitive, Lone Hill, etc. when they become available in Europe due to the different copyright laws.
Now THAT I can understand. And agree with. Thanks Felser.
MG
And here's another issue - no resale value. If I buy a CD and don't like it, I can sell or trade it and recoup part of my lost value, plus sometimes CD's even appreciate over time (ehllo Mosaic). All of this is taken from me with downloads. Which should make a person much less willing to explore music, to take a chance on something. I don't doubt that I'll eventually pay the $10 to download something like the missing Archie Shepp and Marion Brown Impulse titles if that's the only reasonable way to get them, but I certainly won't be exploring, the way I do with CD's. And bothe the companies and I will be poorer for it.
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I fail to see how this is a useful or even interesting path for discussion.
You can decide if it's an interesting path for you or not. It's usefulness is this: There is a tendency on this board for unthoughtout (sic) hyperbolic statements, and I'm trying to encourage that some thought be put into opinions before they are posted, that they be based in reality not just thrown out there in the heat of the moment. I'm not trying to run a poll of the five greatest black people of all-time, I'm trying to discourage comments like James Brown has to be included among them. To that end, I had just come up with a few obvious names to make the point. Where James Brown's true place is in music history and black history is, I think, a very useful and rewarding discussion if done with due consideration and thought.
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JB is easily one of the top 5 black people of all time.
I'm sorry he's gone, but not sure how hype like this helps the cause. Let us know which two of the following get removed from the list to make room for JB, who was by all accounts a groundbreaking musician but a real MF of a human being:
- Frederick O. Douglass
- Booker T. Washington
- George Washington Carver
- Jackie Robinson
- Duke Ellington
- Martin Luther King
What about Nelson Mandela?
Don't forget Sidney Poitier...
Two more good names that I don't at all disagree with, which just further make my point. Thanks.
Upcoming Concord/Fantasy releases
in New Releases
Posted
Thanks. That's a great way to handle it, though I could live without paying for yet another reissue of his stuff with Miles, since I have the Miles set already.