T.D.
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Posts posted by T.D.
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28 minutes ago, JSngry said:
Well of course it is. But is it good marketing fluff, that's the question...
The show in question is sold out, so the authors can argue it's good fluff.
I looked up the venue out of curiosity (years ago I lived not far from there in Brooklyn - which has changed a great deal since then 🙂). Quoted capacity of the "Sound Room" is 200. Seems like a pretty good turnout for such a concert. Way more than I'd expect avant-garde classical, for instance, to draw.
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I'm 66, so technically they're young to me, but calling 50, 40 and 37 "young" just doesn't sound right. 50 and (sometimes) 40 would be more commonly considered "middle-aged" in my experience. I'll call 37 "young", though. 😄
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15 minutes ago, JSngry said:
It says that "Tyshawn’s ensemble includes highly acclaimed young musicians... "
Mark Shim just turned 50. Matt Brewer is 40. Sullivan Fortner is 37.
Please advise.
Their press agent mostly works for classical music-related groups?
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Thanks, Rod. I'm hard paywalled from NYT, can't even view pages in incognito windows. Wouldn't have been able to read it without your post.
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I'm sticking to my "pass" decision unless the book materializes (presumably at a US vendor) with reasonable US shipping. Dusty Groove (my best hope in that regard) does not show it in their list of upcoming releases.
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1 hour ago, HutchFan said:
I've had an eye out for that album for a while. Still haven't found it at a price I'm willing to pay. As with many Japan-only releases, after-market prices are HIGH (especially when you factor in shipping from JP). But I'm sure that I'll get 'round to it eventually.
That [Blue Manhattan] is a very good '70s Al Haig album*, and I'm partial to that vintage Haig (though iirc Allen Lowe would differ) with those sidemen. I managed to acquire the 2006 Japanese reissue (blue cover) just after it was released for a reasonable price.
*Invitation is my favorite, but Blue Manhattan is #2 of those I've heard.
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I've no problem with mono. If a session was originally recorded in mono, I'd rather hear it that way than in fake stereo.
But in practice I wind up going with what's available at reasonable price.
21 hours ago, Stonewall15 said:Good question. Releasing two versions would not be economic so the most popular version was released.
Most likely.
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Bought a while back, arrived today. Unusual Japanese discs, purchased used from US discogs.
Motohiko Hino w. Masahiko Satoh and others
Weird Takayanagi with bass and percussion
Aketagawa trio w. some alto sax and (add'l) vocals
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Thanks. It's showing at a nearby cinema. Marginally considered going but wasn't much interested, think I will now pass.
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Thanks, John. Always enjoy your customary December BFTs.
Given the hint, I should have spent some time sleuthing #3, and regret not thinking of Allen. But I don't like to sleuth early in the month, and in late Dec. I got busy with other things and forgot about the issue. But I'm glad I didn't waste time investigating #10, because it would surely have gotten nowhere.
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3 things picked up on rare visit to brick/mortar shop:
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This Motohiko Hino album has a weird selection of tunes, but some outstanding piano by Masahiko Satoh:
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5 hours ago, JSngry said:
Where is the line between "composed" and "overcomposed"?
In classical music, some seem to think that "total serialism" (e.g. Milton Babbitt) and "New Complexity" (e.g. Brian Ferneyhough) fall into the "overcomposed" category. But there are musicians who enjoy playing that stuff, and the composers named have their fans.
[Disclosure: I kind of enjoy Babbitt's music but have little time for New Complexity]
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1 hour ago, felser said:
Two concerns holding me back from jumping on the CD set yet (though I may well get there soon enough). First is sound quality questions (i.e. " The audio was restored from decades old cassette tapes which have never been heard until now.") - I don't see any audio samples on the site. Second is like half the set being taken up with 'Bye Bye Blackbird', 'St. Thomas', and 'Just The Way You Are', though the other selections look great.
No problem rolling the dice on sound quality, but I hear you on tune selection and lack of audio samples.
However, I'm a Ranelin / Tribe fanboy, and a recording of that vintage incl. Tribe material...preordered the moment I saw it on the DG site.
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1 hour ago, jlhoots said:
$23 looks better than $125!!
That looks good indeed!
In fact, "The Bastards" are already on it and I just preordered from them. 🤩
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The hardcover from JIB. But there's now a paperback available from Amazon and presumably elsewhere.
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Yes, bit of a misfire on my part...late after a long day at work. Of course the gagaku was from a Japanese collection. 🤣
I've listened to significant chunks of those early Indian recordings on the bandcamp page.
Lately I've been into these:
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24 minutes ago, JSngry said:
I remember you put a gagaku selection from that on a BFT, which is the first I heard of the site.
I often browse the Sublime Frequencies bandcamp page. It's fascinating, but I thus far have just listened online, afraid of winding up down another rabbit hole of recording purchases. 🙄
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21 minutes ago, HutchFan said:
Balliett's such a talented author that I always enjoy his writing -- even when I disagree with his musical point of view. He sometimes says downright silly things, like calling Max Roach's drumming "ugly." But I suppose you've got to take the bad with the good and the good with the bad. And the good definitely outweighs the bad, IMO.
My 2 cents.
I read that long ago. Balliett's a very good writer (for instance, I recall an excellent passage about Mingus), but I didn't agree with some of his opinions. I found his extreme dislike of hard bop kind of amusing...in that vein I also recall a brief rant about JR Montrose's ugly playing. No longer own the book, donated it to a library as part of downsizing.
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Finally acquired a copy of this after a long time on the wish list.
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Whatever happened to Cassandra Wilson?
in Artists
Posted · Edited by T.D.
I don't know the dynamics or economics of Brooklyn concert booking, but I'd think the Sorey event might have considered bigger venues. Roulette, only about a mile away, holds 400. The nearby Brooklyn Academy of Music spaces (whatever they call the main theater, plus whatever they now call the Majestic) are probably too large.
In my day (80s-early 90s), the Gowanus neighborhood where Sorey is appearing was far from appetizing. Not really dangerous, but bleak and scary...nervous trip by subway/foot and in those days taxis didn't want to go from Manhattan to Bklyn. Brooklyn has really gentrified since then.