jazzmatazz

[medjuck]

If someone was really willing to do all the work there might be a chance to score review copies. If I ever retire this would be a fun project.

[The Magnificent Goldberg]

If someone was really willing to do all the work there might be a chance to score review copies. If I ever retire this would be a fun project.

Well, I dunno - seems to me there's three elements to this.

1 Sources of information - we're talking about informal as well as formal info, here; not just confirmed release dates but anticipated releases. That implies someone close to the industry - in Japan, Europe, North America, South Africa and Australasia (and probably other places where jazz records are made). If not a someone, a consortium of someones.

2 Ease with the technology of running a site.

3 Willingness to a) slog the info into a reasonably standard form, and b) check reissues for whether they're as originally issued or have bonus tracks (and what the hell do you do about the multipliciy of Japanese editions?)

To me, this doesn't really look like one person, retired or not, at all. Lord knows how Jazzmatazz was so good.

MG

[robert h.]

If someone was really willing to do all the work there might be a chance to score review copies. If I ever retire this would be a fun project.

Well, I dunno - seems to me there's three elements to this.

1 Sources of information - we're talking about informal as well as formal info, here; not just confirmed release dates but anticipated releases. That implies someone close to the industry - in Japan, Europe, North America, South Africa and Australasia (and probably other places where jazz records are made). If not a someone, a consortium of someones.

2 Ease with the technology of running a site.

3 Willingness to a) slog the info into a reasonably standard form, and b) check reissues for whether they're as originally issued or have bonus tracks (and what the hell do you do about the multipliciy of Japanese editions?)

To me, this doesn't really look like one person, retired or not, at all. Lord knows how Jazzmatazz was so good.

MG

Once it's up the first time, updating is work, but not that onerous.

Informatyion on Japanese releases is SUPER easy to find, and Jazzmatazz didn't report terribly much on Japanese stuff.

Nor did Jazzmatazz report AT ALL on South Africa, Australasia, or other basically non-markets where there is virtually no new product different from the main markets. Similarly, Jazzmatazz did not report hardly at all on UK or Eurpoean releases - in those markets, there is a bit of reissue stuff that comes out different from North America.

Jazzmatazz did report on bonus tracks when they were known. This kind of stuff comes on new release announcements (solicitations) from record companies and distributors.

Yes, it can be a bit of work keeping track of all the small labels, but once it's established, the information comes easily to the inbox and it's just an updating and sorting exercise.

[The Magnificent Goldberg]

If someone was really willing to do all the work there might be a chance to score review copies. If I ever retire this would be a fun project.

Well, I dunno - seems to me there's three elements to this.

1 Sources of information - we're talking about informal as well as formal info, here; not just confirmed release dates but anticipated releases. That implies someone close to the industry - in Japan, Europe, North America, South Africa and Australasia (and probably other places where jazz records are made). If not a someone, a consortium of someones.

2 Ease with the technology of running a site.

3 Willingness to a) slog the info into a reasonably standard form, and b) check reissues for whether they're as originally issued or have bonus tracks (and what the hell do you do about the multipliciy of Japanese editions?)

To me, this doesn't really look like one person, retired or not, at all. Lord knows how Jazzmatazz was so good.

MG

Once it's up the first time, updating is work, but not that onerous.

Informatyion on Japanese releases is SUPER easy to find, and Jazzmatazz didn't report terribly much on Japanese stuff.

Nor did Jazzmatazz report AT ALL on South Africa, Australasia, or other basically non-markets where there is virtually no new product different from the main markets. Similarly, Jazzmatazz did not report hardly at all on UK or Eurpoean releases - in those markets, there is a bit of reissue stuff that comes out different from North America.

Jazzmatazz did report on bonus tracks when they were known. This kind of stuff comes on new release announcements (solicitations) from record companies and distributors.

Yes, it can be a bit of work keeping track of all the small labels, but once it's established, the information comes easily to the inbox and it's just an updating and sorting exercise.

There are one or two posters on this board or AAJ, or both, who say that there's a very interesting jazz scene in Australia - a lot of free stuff - but that it's unknown elsewhere precisely because the releases aren't known about. South Africa has produced many jazzmen with international reputations and, of course, that doesn't happen without the existence of a whole range of other musicians supporting the music and providing "career progression". And lots of them do record - there are many more labels in SA than the international biggies and Gallo.

As for Europe, I think, from my perspective and that of other Europeans, it's useful to know what is available in Europe, too. With a new release, whether a new or reissued album, one always wants to know where to get it cheaper, as a result of lower postage costs or no customs dues, or more quickly. But if the country of issue isn't noted, that's difficult. And there are labels like Lonehill, Black & Blue etc which are pretty important.

Perhaps all this is a council of perfection...

MG