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Adam
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Posts posted by Adam
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well, I've done that, so I'm still allowed to critique, I guess (just seeing this thread now). Werner's work with Hat Art was pretty inspirational for me as a fan (and as an eventual producer), the 6000-6200 series is pretty remarkably high quality, music and sound quality. I don't understand most of the musical choices he's made in recent years, but whatever, maybe that's just different strokes. the one thing I do have a major issue with that hasn't really been broached here relates to something Adam said (Adam Hill? is that you? if it is, hey):
"Show me another niche label like his that has $5 sales for new CDs. "
that's fine and dandy for the consumer, but it's terrible terrible business, not just for the label but for anyone wanting to distribute his titles (I know it's one of the reasons I decided not to, after some discussions back and forth with him). not to mention, it cuts into the number of people who will buy the discs at a reasonable price in the first place, because they'll just wait for them to be given away at a loss down the road. I have a sale every February, which ends up basically being six single CDs for $50, and even those prices border on too low (at least I guarantee the purchases will be in bulk). I especially don't understand how a European label can sell CDs like this in dollars, with the dollar seemingly dropping in value every day. obviously it's his label, and he can do whatever he wants, but I don't see how this can be anything but self-destructive as a business practice.
Sorry, not Adam Hill, but hi!
Good point - I always thought it was a strange business model, although I inferred it to mean that he doesn't want to hold onto stock due to lack of space.
The last listing of upcoming titles though implied (and I need to look at the dates again to make sure that it wasn't a posting from 2004 :-) ) that he is re-pressing some in-demand titles such as "The Dark Tree." Hopefully that will prove wise, and give everyone more of a chance to get them.
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Here's what I think, and I say this with love - I think you all are expressing self-centered views and exhibiting a true lake of empathy. :-)
I think, based on direct correspondence, that Werner is aging, tired, willing to pass on his business to a caring person but hasn't found anyone, running the operation close to single-handedly.
I think that given the limits of time and money, he puts out as much as he can. I think you all are giving no thought at all to the time, cost, and work that is actually involved in putting out a reissue (or a new release). He has decided to stress new music rather than reissues to help prove that this music continues to evolve, and that not everyone making it are 60 years old or more. I think if one of you wanted to come in and take over the work needed to reissue things he would be delighted to have you. I think he puts out more than enough reissues to satisfy my bank account and the time available to listen to them.
I think he listens to the market and cuts his wholesale or consignment prices drastically after a period of time to make sure that the CDs sell and that more people can get them. Show me another niche label like his that has $5 sales for new CDs. ECM? Emanem? FMP? Ogun?
If you have the energy and desire, you can probably ask to take over Hat and make an offer.
I think his efforts come closer to being heroic than to anything else, but he is a human being with limits and faults and aging ears, but all of our ears will dim with age.
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What's your favorite jazz cover of a Dylan tune? One that comes to mind is David "Fathead" Newman's version of "Just Like A Woman."
I rather like Joan Osborne's version of "Man in the Long Black Coat" and PJ Harvey's "Highway 61"
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I like the hello from former mayor Tom Bradley at 2:28
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Fela Kuti played piano, sax and drums.
(he sang a bit, too)
MG
Bob Dylan, Bruce Springsteen, and Neil Young all play guitar, piano, and harmonica, and sing.
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Elvis Costello & The Attractions - September 1, 1996 - Mercer Arena Seattle WA
It turned out to be their final US show ever - I guess they did a few more shows in Japan after this. They played for 3+ hour with no break, they were sounding tight as a motherfucker and it was incredible!
I saw a commercial for some concert in south Florida. Can't even remember who the headliner is but Elvis Costello and The Attractions are opening.
Elvis Costello and the Imposters (not the Attractions) are opening for the Police on the Police's upcoming round of US concerts.
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2/21 @ 8pm / SERIES: Jazz on film
Piano Players Rarely Ever Play Together
Piano Players Rarely Ever Play Together is a portrait of three great New Orleans pianists and how they influenced one another's music. The three keyboard artists – Tuts Washington, Professor Longhair and Allen Toussaint -- are featured playing together for the first time in a rehearsal for a joint concert. The rehearsal turned out to be the only time the three ever played together, because Professor Longhair died two days before the scheduled performance. The video documentary takes viewers through the very personal and sacred New Orleans tradition of a jazz wake and funeral procession for Professor Longhair, which was taped at the encouragement of his widow, Alice. Also included is the previously planned concert with Toussaint and Washington, who turned the event into a tribute to Fess.
Dir: Stevenson Palfi, 1982, Video, 76 min.
Tickets - $10
2/28 @ 8pm / SERIES: Jazz on film
Passing Through
Lauded by critics as the best jazz film ever made, Passing Through is a vivid and lyrical meditation on the indelible role of music in the struggle for civil rights. With the vital spontaneity and aesthetic consideration of a masterful jazz composition, the film follows Warmack, a promising young musician, on a spiritual quest toward inspiration and cultural excavation. Warmack's relationship with his grandfather is the heart of Passing Through-- Poppa Harris, a musician himself, provides Warmack with the sort of guidance that leads the film's central journey to its poignant, essential message. Director Larry Clark never released this film commercially-- in his words, it was made for the revolution. Upon its reemergence, Passing Through’s remarkable rarity and quality prompted several festivals to screen it as a special event, including Locarno and Cannes, and its inclusion in this series is a truly exciting chance for us to bring you as close to a lost classic as you’ll find in the film world.
Presented by Arthur Magazine.
Dir: Larry Clark, 1977, 35mm, 105 min.
Tickets - $10
www.silentmovietheatre.com
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Not on Netflix. Dang.
Exactly. That's why we all gotta fly to LA.
Hi all,
I showed this at Los Angeles Filmforum a couple of years ago, It is rather good, and I'm glad they are re-screening it at the Silent Movie Theatre.
the filmmaker Larry Clark is not the photographer/filmmaker of "Kids" etc Larry Clark, but another filmmaker who was at UCLA in the 1970s with Charles Burnette, Ben Caldwell, and others (while Shirley Clarke was teaching there), and, has more recently been teaching in Santa Cruz.
I've had a more elaborate thread on these jazz film screenings in LA elsewhere. It is only a print - not on DVD. The Filmforum screening a couple of years ago was the first LA screening in more than 10 years. I could suggest it to programmers elsewhere, and maybe you can get it played - at least in SF, Chicago, NY.
Adam
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The first concert I went to was Santana at the Fillmore East(August 1970), and the opening act was RRK! I was 14 and didn't get RRK at all. Three years later I was lovin' his music.
Bill Graham did stuff like that, having Miles open for Neil Young, etc.
I haven't looked, but the concert that this thread started on might be on Wolfgang's Vault.
nothing on Wolfgang's Vault.
Wolfgang's Vault keeps focusing on the rock acts. Since it was a Graham event, tapes probably do exist. It would make sense to write to Wolfgang's Vault to ask them to look into them and post them.
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Loved that song. Can still sing it. Never knew any other versions. I might still have a 45 of it.
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Why does that article give the year of the Berlin Olympics twice as 1938 and once as 1936? '36 is correct. I never knew that the Brits gave Hitler a salute in the Opening ceremonies.
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heck, I didn't know that the Mets were building a new stadium.
The new stadium will be called CitiField(insert subprime joke here), but as I've pointed out to some Met fans, if they play lousy it will be known as Shittyfield.
Where is it being built, and how class-dividing is the design?
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heck, I didn't know that the Mets were building a new stadium.
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Actually, every film, even the sound ones, are played with the sound turned off. :-)
Reminder:
Filmforum co-presents with Cinefamily "Ornette: Made in America" (1985, 85 min) by Shirley Clarke. on Thursday February 7, 8:00 pm.
Part of CineFamily’s Jazz on Film: Capturing Creation series. Shirley Clarke was one of the key figures of the American independent film movement, whose films The Connection (1961) and The Cool World (1963) both had strong jazz elements. Her final film Ornette: Made in America (1985) is a documentary portrait of Ornette Coleman’s life, upbringing in Fort Worth, and return to that city with two different sets of work in 1984.
Los Angeles Filmforum, copresented with Cinefamily, at the Silent Movie Theatre, 611 N. Fairfax Ave (South of Melrose) Thursday Feb 7, 2008, 8:00 pm. Park at Fairfax High School across the street. General admission $10. www.lafilmforum.org or www.silentmovietheatre.com
Feb 9, 2008 issue:
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Filmforum presents "Imagine the Sound" by Ron Mann on Sunday February 10, 7:00 pm.
Filmforum commences an intermittent series of documentaries focusing on avant-garde and free jazz, with the Los Angeles appearance of the new revival of Ron Mann’s vital film Imagine the Sound (1981/2007). A marvelous film as thoroughly designed as The Last Waltz, for jazz fans and documentary fans, it digs deep into the side of improvised music not yet touched by Ken Burns and Wynton Marsalis. Featuring Cecil Taylor, Paul Bley, Bill Dixon and Archie Shepp.
Los Angeles Filmforum, at the Egyptian Theatre, 6712 Hollywood Blvd, at Las Palmas. Sunday Feb 10, 2008. 7:00 pm. General admission $9, students/seniors $6, free for Filmforum members, cash and check only. www.lafilmforum.org. The Egyptian Theatre has a validation stamp for the Hollywood & Highland complex. Park 4 hours for $2 with validation.
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"fresh seawater"???
Next it'll be salty fresh water.
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Hi all,
The film I co-produced, "Operation Homecoming," was nominated for an Oscar this morning for feature documentary.
It's also out on DVD now.
Catch the feature version, not teh PBS version.
http://www.nytimes.com/2008/01/22/movies/2...amp;oref=slogin
Hope you all can see it. Should be on Netflix as well, and maybe we'll get some more theatrical showings, at least in NY & LA.
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JAZZ FILM "IMAGINE THE SOUND"
AT LOS ANGELES FILMFORUM ON FEBRUARY 10, 2008
January 18, 2008 –– Los Angeles, CA – Showcasing the work of jazz musicians Cecil Taylor, Archie Shepp, Paul Bley, and Bill Dixon, the Los Angeles Filmforum, the city’s longest running experimental screening series, presents Imagine the Sound, a documentary by Ron Mann, on February 10 at 7:00 pm at the Spielberg Theatre at the Egyptian Theater in Hollywood.
Sunday, February 10, 2008, 7:00pm
Los Angeles Filmforum, Egyptian Theatre
6712 Hollywood Blvd, at Las Palmas
Los Angeles CA 90028
www.lafilmforum.org
For reservations, email the name & number in your party to lafilmforum@yahoo.com.
$9 general; $6 students/seniors
IMAGINE THE SOUND (1981, color, 16mm/35mm screening from DVCam, 71 min)
Featuring Cecil Taylor, Archie Shepp, Paul Bley, and Bill Dixon
Filmforum commences an intermittent series of documentaries focusing on avant-garde and free jazz,
Personnel: Cecil Taylor: piano; Paul Bley: piano; Archie Shepp: tenor and soprano saxophones, vocals; Kenny Werner: piano; Santo di Briano: bass; John Betch: drums; Bill Dixon: trumpet; Art Davis: bass; Freddie Waits: drums.
The first feature documentary by Ron Mann (GRASS, COMICBOOK CONFIDENTIAL) is an eloquent tribute to a group of highly celebrated artists that helped forge the avant-garde jazz of the 1960s. Critic and film historian Jonathan Rosenbaum has said IMAGINE THE SOUND “may be the best documentary on free jazz that we have.”
The film features articulate interviews and dramatic performances by pianists Cecil Taylor and Paul Bley, tenor saxophone Archie Shepp, and trumpet player Bill Dixon.
Not since Scorsese’s The Last Waltz has a music documentary been so thorough and compatible with its subject. Alongside the dynamic performances, the film captures the diverse history and politicized roots of this unique musical genre.
REVIEW: But its true subject is the innovative, free jazz work done in the Sixties, and by extension the determination of these artists to break down the musical barriers that characterized that decade. One could point to any number of reasons why the film works so well, from Robert Fresco's exquisite cinematography (prior to IMAGINE THE SOUND, music documentaries were shot entirely on the fly, and looked like it), to the charm of its subject. The film's real genius, though, probably resides above all in its structure and editing. Mann and his collaborators have given us a near perfect précis on how and why free jazz developed, and the context from which it emerged, but they've also been wise enough to foreground the music without either relying on it too heavily or, worse, cutting it short. -- Steve Gravestock
Production Notes: 71 minutes. 1981/2007. Digitally restored from its original 1981 release format in 16mm, mono (optical) sound to HD(High Definition), 5.1 stereo; the sound was remixed on ProTools from the original 35mm stereo recorded master and 16mm magnetic dialogue tracks.
Los Angeles Filmforum is the city’s longest-running organization that screens non-commercial experimental and avant-garde films and video art, documentaries, and animation. Filmforum began in Pasadena, and 2008 is the start of its 32nd year. It has long included jazz films in its screening series.
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I looked because I was hoping it would be a link to a good Onion story. It's a reasonable headline for such.
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Here's the text of the LA Times obit, as the LA Times will take it down in a few days.
http://www.latimes.com/news/obituaries/la-...home-obituaries
Pete Candoli, 84: jazz trumpeter
Known for his high-register work, the musician played with such big names as Dorsey, Herman, Kenton and Beneke.
By Jon Thurber, Los Angeles Times Staff Writer
January 16, 2008
Pete Candoli, one of the top high-note lead trumpeters in jazz who performed with some of the leading figures of the big-band era, has died. He was 84.
Candoli, whose brother Conte was also an acclaimed trumpeter, died Friday of prostate cancer at his home in Studio City, according to Sheryl Deauville, his life partner of 22 years.
From a childhood in Mishawaka, Ind., Candoli forged a six-decade career and was featured in bands led by Tommy Dorsey, Woody Herman, Stan Kenton, Tex Beneke and Les Brown.
While with Herman's First Herd during World War II, Candoli became known for his high-register work and even wore a Superman costume while performing the specialty number "Superman With a Horn."
He moved to the West Coast in the early 1950s and established himself as an excellent studio musician. He can be heard on two of Henry Mancini's "Peter Gunn" albums and was sometimes seen playing in the background on the television show.
According to his website, Pete Candoli also arranged and conducted for Judy Garland, Ella Fitzgerald and Peggy Lee. Frank Sinatra would often fly him to Las Vegas for gigs.
When they weren't working in the studio or with "The Tonight Show" band for Johnny Carson, the Candoli brothers were a popular attraction at Southern California clubs, concert halls and festivals, often leading their own band.
A gifted showman, Pete Candoli perfected an impression of Louis Armstrong that became near-legendary. "The first time I did my version of Louis was when I was touring in Japan with Benny Carter and a bunch of all-stars," Candoli told jazz writer Don Heckman some years ago.
"At that time the biggest thing in Japan other than the national anthem was [Armstrong's recording of] 'When You're Smiling.' So when somebody found out I could sing like Louis -- that was it, I had to do it at every concert."
Candoli was born June 28, 1923. He and his brother, who was four years younger, were encouraged to take up music by their factory-worker father, who wanted a better life for his sons. Their father performed in an Italian marching band in Mishawaka, which is adjacent to South Bend, and the boys grew up in a house full of instruments, including the trombone and saxophone.
A prodigy, Pete was mostly self-taught on the trumpet. He got his union card before he was a teenager and was playing gigs, including Polish weddings, around his hometown, Deauville said.
He began playing with Sonny Dunham's orchestra in 1941 and went on to work with a long string of other name bands, including Herman's First Herd. While with that group, he recommended his brother Conte for a job, and Herman ended up hiring him.
In the 1970s, Candoli established a nightclub act with his wife, singer Edie Adams. He sang, danced, played trumpet and directed the orchestra.
His marriage to Adams and an earlier marriage to singer-actress Betty Hutton ended in divorce. Conte died in 2001 at the age of 74.
In addition to Deauville, Candoli is survived by daughters Tara Clair and Carolyn, two grandchildren and a sister, Gloria Henke of Mishawaka.
The funeral is scheduled for 3 p.m. Tuesday at Forest Lawn Hollywood Hills, 6300 Forest Lawn Drive, Los Angeles.
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up - this coming weekend. I'm going Saturday, but I realized I also have tickets to the Monterey Jazz Festival tour at UCLA on Friday night the 18th. Just due to money, I'll probably end up there. That has Terence Blanchard, James Moody, and others.
I think I might be more interested in Feldman & Couvoisier on Friday though. I'm sure they will play some Zorn compositions.
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From: Werner X. Uehlinger
Dear Friend,
End of February 2008, "the piano":
hatOLOGY 649:
Paul Bley · (12 + 6) In A Row [reissue]
Paul Bley –piano; Hans Koch –reeds (clarinets & saxophones);
Franz Koglmann –flugelhorn
Total Time DDD 59:08
Barcode 7 52156064923
As in any improvised music, there are challenges accepted, risks taken. Bley himself has suggested, as a measure of the success of free spontaneous music, asking “Is it eventful?” The next step, I propose, would be to ask oneself if each event is meaningful? (with the understanding that each listener will apply his/her own definition of that word to their personal response).
For me, the music on this disc is beautiful, humorous, provocative, confusing, even at times elegiac. All of which makes it undeniably human, and worth sharing. – Art Lange
Dans toute musique improvisée, il y a des défis à accepter, des risques à prendre. Pour évaluer la performance de l’improvisation libre, Bley a lui-même suggéré de se demander: «Est-elle riche en événements? » La question que je proposerais ensuite serait de se demander si chaque événement est significatif (Étant entenduque chaque auditeur appliquerait sa propre définition du mot à sa réponse personnelle).
Pour moi, la musique de ce disque est belle, humoristique, provocatrice, déroutante et même, à certains moments, élégiaque. Pleine de tout ce qui la rend indéniablement humaine et digne d'être partagée. -- Art Lange
hatOLOGY 651:
Russ Lossing – John Hebert · Line Up (N E W)
Russ Lossing –piano & John Hebert –double bass
Total Time DDD 55:43
Barcode 7 52156065128
It's a rich and varied tradition in which Lossing and Hebert locate themselves, and their duets are both an incidental celebration of the tradition and a commemoration of their working partnership.
John Hebert remarks of these duos, “This was a project that we put together as a document of years of playing together in various ensembles. I have known and played with Russ for just about 10 years now, and there aren't too many
musicians that I have such a unique bond with.” Russ Lossing adds, “John and I have developed a very close musical kinship, and friendship too. So, finally we recorded the duo after years of talking about it.” The relationship is apparent in all the ways Lossing and Hebert find to both interact and prod one another here, and the special ways they find to contrast their instrumental voices, from the fleet evenness of Lossing’s piano to the gritty expressiveness of Hebert’s bass. – Stuart Broomer
Lossing et Hebert se situent eux-mêmes dans une tradition riche et variée. Leurs duos sont à la fois une célébration incidentale de la tradition et une commémoration de leur partenariat musical.
John Hebert explique à ce propos: « C’est un projet que nous avons élaboré afin de documenter les années passées à jouer ensemble dans différentes formations. J'ai rencontré Russ et commencé à jouer avec lui voilà près de 10 ans, et rares sont les musiciens avec lesquels j'ai pu établir un lien aussi exceptionnel. » Russ Lossing ajoute:« John et moi avons développé une grande affinité musicale, et également de vrais liens d’amitié. Alors, après en avoir parlé pendant des années, nous avons finalement décidé d’enregistrer ce duo. » Cette étroite relation est évidente dans toutes les manières trouvées par Lossing et Hebert pour interagir et s’encourager l’un l’autre, dans toutes les modalités spécifiques utilisées pour créer un contraste entre leurs voix instrumentales, de la régularité fluide du piano de Lossing jusqu’à l’expressivité rebondissante de la basse d’Hebert. - Stuart Broomer
Best regards,
Werner X. Uehlinger
Hat Hut Records LTD.
Box 521,
4020 Basel, Switzerland
wxu.hathut.com@bluewin.ch
Phone +41.61.373.0773
The Journey Continues the 33rd Year too!
Hat Hut Records Ltd. benefits from its partnership
with the Fondation Nestlé pour l'Art, Lausanne.
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It was cool living in Paris during the Lacy years.
Isn't it always cool to be living in Paris?
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Apparently she's not actually the main Bond girl for the next film - Gemma has a smaller role.
The main one is Olga something, from the Ukraine. I'll let one of you find a photo.
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Sweet! Sometime I wish I lived in LA.
Sometimes I wish I lived in Seattle. Although I think Portland might even be better...
Filmforum in LA is screening Ron Mann's IMAGINE THE SOUND on February 10, which features Archie Shepp, Cecil Taylor, Paul Bley, Bill Dixon.
BUT it's coming to me from Northwest Film Center in Portland, where it is screening in late January (Jan 31 to be precise).
Actually, the NW Film Center is having a great Music Film Series, of which it is part, as is ORNETTE: MADE IN AMERICA, and so is the film I co-produced, THE OLD WEIRD AMERICA: HARRY SMITH'S ANTHOLOGY OF AMERICAN FOLK MUSIC. Several other films with jazz concerns as well, So for those in the Northwest, check this out!
Cachao has died at age 89
in Miscellaneous - Non-Political
Posted
Very sad - saw him a couple of time, a real master, and always hoped to see him again.
A brilliant career and a full life.
R.I.P.