Adam

Bassist John Clayton also lost everything. Here is his GoFundMe campaign with his story: https://www.gofundme.com/f/support-john-clayton-everything-lost-in-eaton-fire?qid=3d481a90e44373c7e4a37524d1186504

Episode 8 of Twin Peaks: The Return (the third season) is right near the top of the most remarkable hours in the history of American TV. I met him once. I was acting as a docent on an architectural tour of "Industrial L.A." organized by the Modern Committee of the LA Conservancy. He came through with Bill Pullman (who was starring in Lost Highway), his wife, and a couple of others. Seems appropriate given his interests.

Ah, it is. So that is your Facebook account! Good to know. We should connect on FB too, although I think about ending my FB account given Zuckerberg's latest actions. But since I run Los Angeles Filmforum, I need it to help promote shows to some people. Today the winds shifted. More marine layer, better for fire fighting, but also more smoke smell, as the wind is coming inland from the ocean rather than southerly from the Great Basin through the passes. I know multiple people who lost homes in Altadena, It is very evident that white, well-connected artists have an easier time reaching their "Go Fund Me" requests on average than African-American and Latino-American families. I also infer that a lot of people under-insured their houses in terms of covering the costs of full replacement, which means that people will need to raise a lot more money or will sell to gentrifying developers. The cultural loss is tremendous, on top of the enormous economic losses and tragic loss of lives.

Here is the full posting on William Roper's facebook page https://www.facebook.com/william.roper.522 A hearty and well-deserved THANK YOU to everyone who donated to Bobby Bradford and William Roper's Gofundmes in the past few days. The response has been, quite literally, overwhelming. Anyone who knows Bobby and Roper will understand that they can speak for themselves. I only wish to say that, in light of the sheer magnitude of the LA fires and the devastation in Altadena, the donations that we've collected are much needed and tremendously helpful. We can't replace the history that has been lost, but we *can* help the people who have to survive this crisis. In case you haven't seen them, here are our fundraisers: Bobby: https://www.gofundme.com/.../help-bobby-bradford-rebuild... Roper: https://www.gofundme.com/.../help-william-roper-rebuild... And here is a master list of similar fundraisers, resources, etc.: https://docs.google.com/.../1jyJ-NM2qP.../htmlview... (Caution: it's not for the faint of heart. The scope of this situation is unbelievable.) McCoy Tyner wasn't joking when he said that this music is "as serious as your life." It's a thing I live by. I'm so thankful to have the opportunity to live among and play with the giants of this music, and I think you'll agree when I say that giving back to this art is one of the few consolations I can imagine at this time in history.

The Zorthian Ranh was a really magical place. I had a Filmforum screening there outdoors a year and a half ago. Idiosyncratic buildings, various sculptures, facilities for making things, over two areas divided by a bridge that one had to traverse to get from the lower ranch to the upper ranch. Residential places, and more. Apparently all gone except for two buildings.

I was coming top post about this. I live in Pasadena and had to evacuate from 1:30 am to last Tuesday, returning home yesterday. Still waitingb to see if winds return tonight. Home is ok but rife with the smell of smoke. Multiple people we know lost their homes. Altadena was also an amazing mixed neighborhood with a large African-American artist community within it, and the majority of it is wiped out., including almost the entire business district.

There current strains are very transmissible, and since most people behave as though Covid doesn't exist anymore, it's very easy to catch it. People can still spread it without having symptoms themselves. Yep, there will be a lot this summer.

He was the oldest living Hall of fame member.

More info from the listing just below. I can't yet locate the detailed finding aid online; that might be on site only. if anyone is in Ottawa... Bley's daughter died a few years ago. General note: Dub copies of Bley recordings are not described in this series. While many dubs are simply direct copies of described recordings, the boxes for some (particularly audio reels) often contain additional information on the recording, including song titles (and changes thereto), composer credits, editing and mixing decisions, and commentaries on the performances and on technical aspects of the recording. The existence of dubs with significant textual information is noted in the relevant descriptions. Arrangement note: Hide detail The series contains the following sub-series: MUS 297/E1 Live Recordings of Paul Bley and Related Records; MUS 297/E2 Studio Recordings of Paul Bley and Related Records; MUS 297/E3 Combined Studio and Live Recordings of Paul Bley and Related Records; MUS 297/E4 Other Records Concerning Paul Bley Recordings. In cases where the place of recording is not known, but there are no indications of a live audience, the recording has been described in MUS 297/E2. MUS 297/E3 contains: individual recordings that include both live and studio performances; and recordings, which while individually are either live or studio, are related to larger projects that combined both studio and live recordings. Related records found with a recording are described with that recording, and other related records are described in sub-series MUS 297/E4. The recordings in each sub-series are arranged according to the date of Bley's performance, which is generally (but not always) the same as the date of creation., Sound recordings pertaining to Sun Ra's St Louis Blues: Solo Piano, IAI 37.38.58, are described as part of MUS 297/E1 because of their integral connection with the unmixed masters and unmixed copies of the Bley-Sun Ra performances at Axis-in-Soho, July 1977, which are also described in MUS 297/E1. The Rights info isn't the greatest. if you click on the Access tab, you can see what there is. Everything that is a sound recording is either Restricted, or Open for consultation but no copying. Sound recordings [Consultation18 Restricted] File MUS 297/E1,97 is subject to access restrictions. Sound recording [T10W1] 109--146 [Consultation 95 Open, no copying] One would have to ask them for more details,but the material would likely be considered under copyright and heirs would have to be consulted. Bley-Sun Ra performances at Axis-in-Soho, July 1977??? the overall listing says that there is material from roughly 1953 to 2000, but details don't appear online.

Just came across this while doing research at Library and Archives Canada: Paul Bley recordings and related records [multiple media] Hierarchical level: Series Date: [ca. 1953]-2000. Reference: R11915-5-7-E, MUS 297, MUS 297/E Type of material: Photographs, Moving images, Sound recordings, Textual material, Art Found in: Archives / Collections and Fonds Item ID number: 210550 https://recherche-collection-search.bac-lac.gc.ca/eng/Home/Record?app=fonandcol&IdNumber=210550 Extent: 41 cm of textual records. 7 photographs : b&w ; 20 x 25 cm or smaller. 1 negative : b&w ; 3 x 24 cm. 1 montage : col. ; 42.5 x 28 cm. 524 audio reels (ca. 296 hrs). 19 audio cassettes (ca. 19 hrs 48 min.). 2 videocassettes (ca. 1 hr 52 min.). Language of material: English Scope and content: Show detail Finding aid: Hide detail (Electronic) Numerical list. The descriptions in this series generally include (where known) the performers, instrumentation, titles, the place and date of the recorded performance, and the generation or stage of the recording. In order to minimize repetition, the names of composers have generally been omitted from the descriptions. A comprehensive listing of the compositions in Bley's recorded repertoire, and their composers, is available in Henk Kluck's discography, Bley Play: The Paul Bley Recordings (Emmen, The Netherlands, 1996). (90: Open) Scope and content: Hide detail Series containing, predominantly, sound and video recordings of live and studio performances by Paul Bley (solo and with other musicians), comprising both concerts and recording sessions that are also documented (in whole or in part) in issued recordings and those that are entirely unissued; also included are related textual and graphic records. Among the sound recordings are: masters, including edited and unedited unmixed masters; safety masters and sub-masters; trial and final assemblies, including assemblies of unmixed masters; master mixes; and unmixed, mixed, and other copies. In the case of sound recordings related to projects issued by IAI and other record labels, many steps of the process between performance and publication are documented (for example, the original recording process, evaluation, selection, editing, titling, composer credits, assembly, mixing, and arrangements for pressing). Many recordings concerning issued projects also contain additional music that was not issued. Bley often made significant annotations on audio reel boxes, such as: his comments on and assessment of the performance, the piano, and technical aspects of the recording; and his subsequent decisions concerning the selection of performances to be issued, editing, assembly, mixing, and titling. Among the related records are: take sheets, track sheets, and other listings of personnel, titles, and other contextual and technical information concerning recorded concerts and studio recording sessions; empty audio reel boxes, and fragments of boxes; notes; sketches of assemblies; correspondence; forms, such as purchase and work orders; photographs; promotional material, including concert posters and programmes; draft liner notes; transcriptions of Bley's recorded solos; and dubs of radio broadcasts featuring Bley recordings. In addition to performances by Bley, some recordings also contain performances by groups that do not include Bley. 524 audio reels (ca. 296 hrs) "comprising both concerts and recording sessions that are also documented (in whole or in part) in issued recordings and those that are entirely unissued"!!! For any record producers who are interested... 🙂

I picked up the LPs of Waldron/Lacy, Lateef, and Adderley Poppin' in Paris. That's what i could afford currently. I was standing next to someone at the store (Canterbury Records in Pasadena) who picked up a copy of the Nat King Cole, and another person standing there said "I worked on that; thank you for picking it up." I didn't ask more questions, but there it is. I'll get others on CD someday if I get them. Tried to play Lateef and my turntable wouldn't work, so more to deal with...

All the Elemental Releases are coming on CD with a street date of April 26. https://www.elemental-music.com/71-deluxe-cds-april-26th

Blue Note just tweeted the news. Such a vitally important person to the music.

And Ruth has been the director of the Jazz BAkery in Los Angeles for many a year.

Here's full info on their site, and the 3 CD set is only $30 from Resonance directly. https://resonancerecords.org/product/les-mccann-never-a-dull-momentcd/ Also note that the early Nat King Cole box is only $30 for 7 CDs, and $60 for 10 LPs https://resonancerecords.org/product/hcd-2042-nat-king-cole-hittin-the-ramp-the-early-years-1936-1943/ https://resonancerecords.org/product/nat-king-cole-hittin-the-ramp-the-early-years-1936-1943/