Larry Kart

As much as I like those two, "Live in Tokyo" and the recently issued "Sesjun Radio Shows" are musts IMO. Yes, he did fall -- no mystery or foul play. See Jeroen de Valk's biography, not the mereitricous "Deep In a Dream."

By and large, I don't like these performances. In particular, I have a CD dub (non-issued) of reedman David Sherr (member of the band on that fine Sonny Criss-Horace Tapscott album from the late '60s; Sherr was a good friend of Criss) playing the Sequenza I for Flute, and it just wipes the floor with the version by the Ensemble Intercontemporain's flautist. You almost wouldn't even know it was the same piece. Briefly, the EI's Sophie Cherrier plays it as "modern music" in the familiar worst sense -- all breathiness, aggressive attack, and dynamic extremes -- while Sherr plays it as music and lets the works modernity fall where it may.

Fine but where does this stop. Why didn't you delete this: http://www.organissimo.org/forum/index.php?/topic/67044-anyone-know-about-a-cd-of-miless-paris-bcasts/ - ? Done. It stops where it's supposed to, given the rules of the site and pending the alertness of the moderators. So nice of you to ask.

Lennie Tristano's "Requiem," for Parker. Ellington's "Black Beauty," for Florence Mills (not a jazz musician per se, but...)

If you make a statement or ask a question that can be contravened or answered or whatever with a minimal amount of investigation, then I think "do your homework" is a fair response. Man, that "A Love Supreme" is a cool album, huh? Anyone else heard it? And what's with that Pee Wee Russell dude? Sure doesn't sound like a clarinet should.

Your post -- informing of us what's on a record that many of us know well -- seemed oddly naive, which is why I thought you didn't know it was a fairly well-known recording. As for your "Carisi is pretty much whatever the music version is of a television character actor is. He played with some of the swing guys and on Birth of The Cool, right?" is breathtaking in its apparently demeaning ... can I say, ignorance? Carisi, for one, didn't play on the Birth of the Cool recordings (the sole trumpeter there was Miles), but his composition "Israel" and his arrangement of it was there. Of the piece Andre Hodeir wrote: "[T]he most remarkable side probably is 'Israel,' which offers a rather astonishing renewal of the blues." See p. 131-2 of Hodeir's "Jazz: Its Evolution and Essence" for more info. And what the heck does "Carisi is pretty much whatever the music version is of a television character actor is" mean?

Track won't download to my Mac. Any solution?

A "strange" record it may be but hardly little known. And Carisi is not just "some guy," whether or not you happen to like his stuff here. Do a little homework first.

Say no more: http://www.google.com/imgres?q=peter+schivarelli&hl=en&sa=X&biw=1022&bih=948&tbm=isch&prmd=imvnso&tbnid=7xuqLoIhDIrKnM:&imgrefurl=http://www.ndfootballhistory.com/Peter%2520Sch%2520feature.html&docid=bBs0XZNHQzGJMM&imgurl=http://www.ndfootballhistory.com/images/peterS.jpg&w=237&h=354&ei=tvDQTpCSF6Ly0gHz4KVD&zoom=1&iact=hc&vpx=102&vpy=113&dur=3923&hovh=274&hovw=184&tx=98&ty=172&sig=106903101126739068724&page=1&tbnh=141&tbnw=107&start=0&ndsp=25&ved=1t:429,r:0,s:0

As long as we're dredging up old posts, Demon Dogs was lost when they rebuilt the Fullerton El stop. Both Fullerton and Belmont now span their respective streets, which is actually really convenient when trying to catch the buses going west. You used to have to dodge cars to get across the street. Plenty of people still do this, but most know to cross on top before coming out of the El. So there is a secondary station entrance right where Demon Dogs used to be. It is a shame that the CTA didn't do something more to help Demon Dogs relocate, but they were embarrassed when a series of articles came out in the newspaper claiming/proving that Demon Dogs had a sweetheart deal and paid almost nothing to the CTA. AFAIK, Demon Dogs never reopened in the city. I didn't eat there often, but from time to time I would get fries there. Interestingly, on the south side of Fullerton, DePaul just opened a new art museum right next to the station, relocating its existing one from a few blocks west. It's worth a look if you are in the area. Demon Dogs was a mob-controlled enterprise, as was (to some extent) Chicago. Probably money laundering and Heaven knows what else. See this list for the name of Chicago's manager, Peter Schivarelli: http://realdealmafia.com/chicagolist.html

I understand that, but isn't their link in both cases to you via the unit, not to the unit via you? Or so it would seem.

Yes, but isn't it a logical extension of what happens when you buy an Apple computer and then receive periodic software updates from them?

Apparently with Google Voice you can only record incoming calls. I would need to record outgoing calls and then be able to store them on my computer.

First pop song I recall hearing was "On the Atchison, Topeka, and Santa Fe," but I can't say that hearing it now takes me back to the kitchen of our Chicago two-flat in 1946. "Funiculi, Funicula" does though -- it was the theme song of the soap opera "Lorenzo Jones," and I hated it (the music, not the soap opera).

Having been out of this part of journalism for many years, I'm sure there are now better ways than the old days to record telephone interviews with people who have of course been informed that you're doing this and then transfer the files directly to your computer (say to I Tunes). Any recommendations? Way back when, we used to carve them in stone tablets.

Per Chuck's info above, listen to Thompson on the released alternates (Sixteen, Carolina Moon, Hornin' in, Skippy) for evidence that his interaction with Monk on this date, as effective as it is, is also not formulaic. In addition to innate musical gifts, they both had "Swing To Bop" sensibilities that really rhymed. Forget which track it's on (though I heard it last night, maybe Skippy) where someone who's probably Monk makes a definite cry/moan of approval toward the end of Thompson's solo.

FWIW at this point, and based on limited evidence (the four-tune 1952 date that gave us ""Let's Cool One," "Carolina Moon," Hornin' in," and Skippy") the most mutually compatible tenor saxophonist that Monk recorded with was Lucky Thompson. And I'm not forgetting Rollins. Everything from that '52 date is superb.

But surely it would be virtually impossible Impossible, in practical human terms, to substitute another tenor saxophonist for Rouse on studio dates. The implicit insult would have been obvious and hard for Rouse to deal with.

Pre-Monk Rouse could be quite tasty/soulful/inventive. Hear him on Louis Smith's "Smithville" and his own "Takin' Care of Business." About Rouse with Monk, I pretty much agree with Moms but without the hyperbole. The typical Rouse solo with Monk was like eating cardboard, though there were exceptions. Also, IIRC he played quite well on one of the albums (probably the first) that he made with the post-Monk tribute band he had with (I think) Kenny Barron, Buster Williams, and Ben Riley. To me, all that suggests that for the lick- and groove-oriented Rouse, actually playing with Monk usually cut across the grain of what he could do best.

Actually when I started reading this thread now (had never noticed it before) the original question immediately made me think of Frank Strozier too. When I got that original copy of "Fantastic Frank Strozier" on VeeJay I was sort of puzzled about the cover pic as I had imagined him to be Black (O.K., a/a for those who prefer that term) but wasn't so sure about it anymore after seeing that cover. Now what about Jackie McLean, then? What IS the common consensus or established knowledge, then? Can't we just cut out this P.C. or "being touchy" thing for a second and just give a factual answer? I mean, it is NOT something that values or valorizes anybody in any way these days anymore. It's just about stating a fact, one way or another. And haven't subjects such as this been discussed in the case of Creoles too? Without any P.C. qualms? As for me, I've always guessed he falls in the same league as Kenny Burrell or EARLE WARREN (of the Basie band), for that matter, i.e. a very light-skinned Black who might even have passed as White in some contexts. Now tell me frankly, is it so or not? It is so, in all the cases you mentioned.

Oh, it could matter a lot in simple (or not so simple) human terms if Jackie sounded the way he did and was white, or if he sounded the way he did and got a lot of guff from other black guys about the way he looked, but we know the first isn't so, and I've never heard anything about him getting hassled on the second count. It mattered to me in high school (small farming community in central Iowa). The Prestige records I had at the time used photos that were "one or the other" and he sounded unlike white players I had heard at the time. At that point in my life, when I was trying to figure out 1000 things, this was one. Interesting (in a good way) to have this thread resurrected now. Yes, I had that reaction, too, at the same time, especially to the cover of "Jackie McLean and Co." Before I knew the truth, it was intriguing to think that a white player could sound like that. Once I knew the truth, Jackie was just himself to me.

Oh, it could matter a lot in simple (or not so simple) human terms if Jackie sounded the way he did and was white, or if he sounded the way he did and got a lot of guff from other black guys about the way he looked, but we know the first isn't so, and I've never heard anything about him getting hassled on the second count.

Funny -- I don't recall ever hearing it, or at least noticing it, before. There are some "I'll play this until I have another idea" licks from the Hard Bop era, usually played by trumpeters, that were ubiquitous and mindless, the musical equivalent of eating cardboard. IIRC, Donald Byrd and Kenny Dorham succumbed to them fairly often, as later on did Ornette on trumpet.

If those accusations about Johnson are true, then he and Rhee make a perfect couple. We already know that her career as an educational reformer is that of a died-in-the-wool fake and liar.

Tedious to compile and no doubt tedious to read, here is my response to Big Beat Steve’s request about what lies Pujol told in that interview. It begins with an edited version of the interview with key passages bolded by me, followed by responses from recent Organissimo threads. I’ll add that Big Beat’s Steve’s repeated question/complaint -- “Now if there are such copyright laws then it ought to be commonly known (to the authorities in charge) that the import of certain goods (in this case CDs in violation of U.S. copyright/P.D. laws) is against the law in the USA. Just like importing certain goods from the USA (certain medical goods in my example above) is against the law in certain European countries. Now why aren't U.S. importing laws being enforced by the AUTHORITIES that are supposed to do the enforcement? Just like corresponding laws are enforced over here (not 100% but enough to deter many). THAT is where you have to start asking questions.” -- seems quite disingenuous to me. In the eyes of the U.S. authorities, who no doubt feel that they have other and bigger fish to fry, this matter is not a priority, rightly or wrongly. Also, I would think that monitoring commerce over the internet and also monitoring what is shipped here from overseas and from outfits like Amazon would be an immense task. The authorities, to the degree that they know and care about this issue, apparently have decided that it’s not in their hands but in the hands of injured parties who chose to file lawsuits. And we know how that goes -- too much trouble/bigger fish to fry. So if the door of importing into another country what you know to be illegal there is open, it’s perfectly OK ethically for you to do so? P.S. I would have included Laurie Pepper’s post about Pujols, but Myers seems to have removed from his comment thread, along with a comment I posted there. LK Fresh Sound label. Since the 1980s, Fresh Sound has specialized in releasing American jazz albums from the 1950s that U.S. labels have all but ignored, overlooked or forgotten. In this regard, Fresh Sound has performed a heroic task, rescuing jazz's greatest decade from the dumb clutches of record conglomerates that have all but written off the music. Fresh Sound, which is based in Spain, has been able to accomplish this noble task thanks largely to smart deal-making with artists and favorable European copyright laws. These laws state that recorded music dating back 50 years or more is in the public domain. This means European companies are allowed to issue the music that American labels have written off without the burden of paying hefty copyright fees. In the process, many American consumers have developed a flawed impression about Fresh Sound—that it's somehow in the bootlegging business or that it's skirting laws. So I simply reached out to Jordi Pujol, who agreed to answer the big questions that jazz fans have on their minds. Jordi not only happily answered all of my questions without hesitation, he also provided me with lots of great photos of him and American jazz legends whom he has befriended over the years. Hopefully his answers will clear up the misconceptions and shed light on a business few fans know about: JazzWax: Does Fresh Sound owe jazz artists or their families royalties on the albums it issues?
 Jordi Pujol: First of all, if you are talking about public domain recordings, music that was recorded more than 50 years ago—such recordings do not require such payments under European union copyright laws. These laws are different than yours in the U.S. But if we’re talking about recordings that were provided to Fresh Sound by artists or their families, that’s a different matter. Over the years, I’ve purchased many tapes from jazz musicians, and I’ve also been in touch with musicians’ widows for recordings. In every case, I’ve reached an agreement with them and paid them whatever was required for their permission to release the material on Fresh Sound. JW: What is the source of Fresh Sound’s releases? 
JP: At Fresh Sound, we have a large warehouse of reel-to-reel tapes that we bought from many different record labels in the 1980s, when the LP was still the dominant format. Back then, some well-known labels and quite a few American companies traveled to Midem, the big annual recording-industry trade show in Cannes, France, to sell or license all kind of tapes in their vaults. Ironically, the first entities that came to Europe to sell what you in the U.S. call “bootlegs” actually were American companies. This occurred long before any label in Europe started to issue recordings that are in the public domain. 
 
JW: How could they do this?
 JP: I assume these recordings were not protected under the U.S. copyright law, so these American companies could deal them at Midem. You should know that we never bought them. But it was common practice back then. With the rise of the CD in the 1990s, new European labels began to capitalize on the public domain laws here, which is perfectly legal. 

JW: What triggered the shift?
 JP: Before 1995, the copyright laws in Europe varied and weren’t standardized. So, for example, until that year, Spanish law protected sound recordings for 40 years after their release date, based on a law from 1987. Prior to 1987, sound recordings were protected only for 25 years. Before 1995, only France and England had a 50-year protection term. Other countries like Germany, Denmark, the Netherlands and much of Europe had protection terms that went from 15 to 25 years. 
JW: And in Italy?
 JP: In Italy, live recordings were not protected at all. That’s why many live concerts were released on LP or CD back then. They were called bootlegs in the U.S., but they were not illegal in Italy. There simply were no laws there regulating live recordings in that country then.
 
JW: What changed in Europe?
 JP: In October 1995, all European Union countries agreed to adopt the same period of protection for sound recordings, 50 years, starting that same year. So, for example, in Spain, before 1995, recordings had had 40 years of protection. But with the addition of 10 years based on the new law, 1955 was not public domain until 2006. JW: So issuing these recordings isn't bootlegging? 
JP: People in the U.S. who think that most European labels are issuing bootlegs are misinformed. Here’s a translation of the duration of the rights given to the producers of a sound recording will be 50 years, counting from January 1st of the year after it was recorded.” So if and when copyright protection is extended to 70 years, that means that from the year the law enters into effect—let’s say in 2012—all recordings from 1962 with a legitimate copyright claim will be protected until the year 2033. 
JW: If adopted, will the new 70-year European copyright law affect Fresh Sound?
 JP: It’s too soon to say how much the extension of an additional 20 years of protection will affect European labels like mine. Obviously it will be a handicap for most labels here. Jazz fans should also be concerned about this coming change. 
JW: Why? 
JP: Because it will limit what can be issued under the public domain laws. For example, I regularly receive hundreds of emails from jazz collectors asking me to reissue specific albums that are out of print in the U.S. and locked away in record company vaults. Often, the recordings they request are not yet in the public domain. Under past laws, many of those albums were just a few years away from qualifying. But that’s going to change. Any hope of our releasing choice recordings from the '60s and beyond, for example, will vanish with the new law if that recording is copyrighted. 
JW: Why?
 JP: In virtually every case, the American labels that own the masters will not be interested in reissuing them, and we cannot either until they are in the public domain in Europe.
 
JW: Does Fresh Sound use LPs as a source? 
JP: Yes, of course, when we need to. We always use cleanor mint LPs, as well 45-rpms and 78-rpms if need be. We also use the most advanced technology to restore and improve the sound of these old recordings, in most cases improving on the original sound. 
JW: Does Fresh Sound pay to license source material? 
JP: Yes, we pay when it’s required. For example we have worked with RCA for many years and have always paid for the material we use. But if it’s a recording that has already gone into the public domain here, we are not required to do so. Some labels, however, don’t invest anything in restoration technology, using CDs that are already in the market to produce their own. That way they can sell their products much cheaper. I can say that every master in the Fresh Sound catalog for the last 15 years has been sent to a studio to be newly mastered before heading to the pressing plant. 
 JW: Is Fresh Sound affiliated with Lone Hill? 
JP: Not at all. Fresh Sound is my label, and it’s based in Barcelona, Spain. It’s not affiliated with any other jazz label. Many people believe that all labels coming from Andorra or Spain are related to Fresh Sound. This is simply not true.


 
 SonnyMax: Imo, this reads more like a press release than a journalistic endeavor to inform and clarify. First off, let's establish the fact that the legal owners of copyrighted material are bad, greedy, or just ignorant people. Then let's spoon feed Pujol a series of softball questions ("So issuing these recordings isn't bootlegging?"), and never challenge or ask for clarification of his answers. How about something like, "So, if it's legal to sell these recordings in Spain and other parts to Europe, why do you sell them in the U.S. where they are protected by copyright?" Pujol cites the source of FS's releases are "a large warehouse of reel-to-reel tapes that we bought from many different record labels in the 1980s". When asked how he could have purchased these copyrighted titles, Pujol says, "I assume these recordings were not protected under the U.S. copyright law". Curiously , he seemingly contradicts himself by adding, "You should know that we never bought them." So, you assume they were legal to sell, and so you purchased them, but you never bought them.  Pujol also asserts that "Many people believe that all labels coming from Andorra or Spain are related to FS. This is simply not true." So tell me then, what website advertises the Andorran labels' titles, as well as those from Fresh Sound? Answer: Blue Sounds, owned by Cristina Pujol Masdeu. And who distributes the physical product? Why, it's Absolute Distribution, whose parent company is Blue Moon Producciones Discograficas SL, a division of...drum roll, please...Fresh Sound Records. Dan Gould: I'm also wondering about these "old days" when they put out LPs - even if the law was 40 years at that time, was he really strictly adhering to that law? That would make him restricted to recordings from maybe the early 50s Quote So, for example, until that year, Spanish law protected sound recordings for 40 years after their release date, based on a law from 1987. Prior to 1987, sound recordings were protected only for 25 years. You have an interesting definition of "much less than 50 years". If FreshSound started after 1987, it was subject to the 40 year rule, making their legal LP issues going up to the late 40s or early 50s depending on the year the label was started. That leaves my question untouched. Did FreshSound reissue on LP recordings from, say the late 1950s? Simple math tells you it violated the law even as it stood in Spain. Same thing, frankly, with the 1995 standardization of copyright. That means that at the moment of adoption, he wasn't supposed to reissue anything recorded later than 1945. Was he following that? Big Beat Steve, on 08 November 2011 - 04:01 PM, said: ...The thieves (if any) in the U.S. are at the intra-U.S. distributors' and retailers' end, nowhere else... You conveniently ignore the fact that it is Fresh Sound's own distribution company, Absolute, that makes these titles available to U.S. retailers. That doesn't excuse retailers from their role in the process, but it doesn't make Jordi an innocent bystander either. Kevin Bresnahan: Back in the late 80's & early 90's Pujol's Fresh Sound label issued quite a bit of stuff that was not 50 years old. How could the interviewer not being up *any* of them?? Just look at their discography. There are tons of small label stuff in there that was clearly under 50 years. Jubilee, Jamo, Roulette, etc. not to mention a whole bunch of live material. None of this stuff was legal. I don't know why Pujol doesn't just fess up and admit that when the labels/artists failed to go after him, he kept going. Notice how he never really went after the big label stuff until after the 50 years went by? He knew what he was doing was illegal, even under Spanish/EU law. David Weiss: I worked pretty closely with Jordi for a number of years. I recorded 4 CDs for him and produced another 10 or so for him. I've spent plenty of time in his office in Barcelona and seen the "walls" of reel to reel tapes. Knowing all of that still can't help me give you that much of a clearer picture about all this. I know Jordi has legitimately acquired some labels (Nocturne) so some of his reissues are legit. Others he might have thought he acquired legally but did not (Vee Jay). Other things he did license legitimately. Other things he certainly did not. The live tapes is another issue. If I am to believe him, at the start he thought his buying the tapes from an estate or a club owner meant he legitimately owned them. Later on, he did ask me for the contact information for Cannonball's widow and Lee's widow because he said he wanted to pay them something. I'm pretty sure he never did. I didn't know him during the vinyl era but most of those couldn't be legitimate. Pacific Jazz vinyl? No way..... He was always a good host when I was in Spain so he could give the appearance of being a good guy, knowledgeable about the music and a great fan. Business wise......well..... Kevin Bresnahan: I love the quote, "All I know is that Fresh Sound's CDs are available for sale legally in the U.S. at major online retailers". Legally? Really? Wake up - these CDs are *not* legal to sell in the US. It's just that the legal costs to get these illegal CDs off the shelves are prohibitive. Pujol knows this. He's lying if he says he doesn't.