wanted: fresh sound label info
etherboard
can someone direct me to a primer and/or discography, as well as some of the
gems?
what are your favs or least desirables of the lot?
surely there are some prizes as well as some duds to stay away from...
any information, feedback, help, et al is certainly appreciated.
Trumpet Guy
then hit the "New Talent" section.
Lots of good stuff.
I'd recommend-Seamus Blake,Chris Cheek,Jeremy Pelt,Phil
Grenadier,Frank Carlberg,Bad Plus,Ethan Iverson,Bill McHenry,EJ
Strickland...Too many to recommend actually!
etherboard
i did... nothing.
dead link?
can i pose a serious query to the group here and ask for some direction on
this label?
R. Lynn Rardin
<do...@attglobal.net> wrote:
> > Check out www.freshsoundrecords.com
>
> i did... nothing.
> dead link?
I'd guess temporarily down. I pulled up their web page a week or two
ago with no trouble.
--
-Lynn (rar...@orion.rose.brandeis.edu)
crib
<< although i have a sizeable collection, i have nothing on fresh sound. can
someone direct me to a primer and/or discography, as well as some of the gems?
>>
I don't know why the Fresh Sound (aka Blue Moon) website is down. It's a shame.
I've said for several years that the label was stupid for not selling its music
online. They have CDs led by Brad Mehldau, for Pete's sake. These things would
*definitely* sell, if only they were available to the (Warner Bros.) Mehldau
fans. Finally, they did create a site...and now it's not functioning.
So keep checking it. Otherwise, you can get Fresh Sound releases from Crazy
Jazz (mail-order from the UK) or Cadence. A few other sites list them (The
Music Resource, for example), but those are the only two I've found to be
reliable with that label.
Fresh Sound, and Fresh Sound New Talent, are two separate labels. I'll assume
you know that, so I'll ignore the FSNT label. It's a totally different thing.
You can check out a Fresh Sound listing here:
http://www.crazyjazz.co.uk/Labels/F/FRESHSOUND.htm
My favorite Fresh Sound release is John LaPorta's "The Most Minor." John
LaPorta is one of the best and most important jazz musicians who aren't widely
known. His lack of fame is unfortunate, and completely undeserved. He's
possibly the most melodic improvisor I've ever heard.
My second-favorite is Bob Florence's piano trio recording. I love Bob
Florence's big band work; he's on my list of top-five large ensemble writers
(along with Bob Brookmeyer, Jim McNeely, Maria Schneider...and a wild card,
which I alternate ;-). I think it's really cool to be able to hear him so early
in his career, playing in a piano trio setting. And aside from being unique in
this respect, it's also damn fine jazz.
A few other favorites, of mine:
Bob Cooper Quartet: "For All We Know"
Stan Getz Quintet (w/ Brookmeyer) at the Hi-Hat
Charlie Mariano Quintet (w/ Herb Pomeroy): "Boston Days"
Fresh Sound is a terrific label. I highly recommend checking them out,
extensively.
Hope that helps. Good luck.
crib
Ron Ahern
OAM Trio - Flow
Omer Avital, Avishai Cohen et al - Third World Love Songs
Pete Jolly-Jan Lundgren Quartet - Collaboration
are all excellent...
"etherboard" <et...@attglobal.net> wrote in message
news:3f1cc...@news1.prserv.net...
Luke Kaven
>etherboard asks:
>
><< although i have a sizeable collection, i have nothing on fresh sound. can
>someone direct me to a primer and/or discography, as well as some of the gems?
>>>
>
>I don't know why the Fresh Sound (aka Blue Moon) website is down. It's a shame.
>I've said for several years that the label was stupid for not selling its music
>online. They have CDs led by Brad Mehldau, for Pete's sake. These things would
>*definitely* sell, if only they were available to the (Warner Bros.) Mehldau
>fans. Finally, they did create a site...and now it's not functioning.
>
>So keep checking it. Otherwise, you can get Fresh Sound releases from Crazy
>Jazz (mail-order from the UK) or Cadence. A few other sites list them (The
>Music Resource, for example), but those are the only two I've found to be
>reliable with that label.
Fresh Sound is distributed by North Country, which is Cadence. You
can always get these titles most reliably through Cadence.
>Fresh Sound, and Fresh Sound New Talent, are two separate labels. I'll assume
>you know that, so I'll ignore the FSNT label. It's a totally different thing.
>You can check out a Fresh Sound listing here:
They aren't really different--they're both Jordi Pujol's productions.
The New Talent thing is more marketing than anything else.
Trumpet Guy
reissues mostly.Fresh Sound New Talent are new releases.
The website appears to be up again.
Some are even sold at Amazon.com now.
Great diverse label!!
crib
<< They aren't really different--they're both Jordi Pujol's productions. >>
They're completely different.
The Fresh Sound catalog consists of reissues of relatively old records by
latter-day artists. There are a few recent recordings, but *most* of the
catalog was recorded 40+ years ago.
Fresh Sound New Talent features new, original recordings by contemporary (and
mostly young) artists. As far as I know, there isn't a single reissue in the
bunch, and not one of the recordings is more than ten years old.
The two projects are completely different, and it should certainly not be
assumed that someone who likes one will necessarily like the other. The fact
that some of the same people may be involved in the two companies is totally
irrelevant. That's like saying, "If you like 'Everybody Digs Bill Evans,' then
you'll like Dave Ellis' 'In the Long Run,' because both were produced by Orrin
Keepnews."
And saying that the difference is "more marketing than anything else" is like
saying that the difference between Canada Dry and Orange Crush is "just
marketing," because both are owned by Coca-Cola.
<< You can always get these titles most reliably through Cadence. >>
I don't know why you chose to reply to this section; your implication is that
Cadence is more reliable than Crazy Jazz. Frankly, I have found the opposite to
be true. But as I originally said, both *are* reliable sources for Fresh Sound
releases (whereas some other sites list the titles but don't stock them).
crib
JC Martin
news:20030723114823...@mb-m05.aol.com...
What's unreliable about Cadence?
-JC
Trumpet Guy
> >you know that, so I'll ignore the FSNT label. It's a totally different thing.
> >You can check out a Fresh Sound listing here:
>
> They aren't really different--they're both Jordi Pujol's productions.
> The New Talent thing is more marketing than anything else.
"More marketing" than anything else??!!Sounds like you've got a bias.I
checked your website's new releases,so I know where you're coming
from...Young traditionalists.Anyway,best of luck with your label!
JAZZCORNER
just visited the site at: http://www.freshsoundrecords.com/newreleases.php
Willie (from Germany)
crib" <crib...@aol.com.go.away> schrieb im Newsbeitrag
news:20030723114823...@mb-m05.aol.com...
Luke Kaven
Now stop right there. I was not criticizing Jordi's New Talent label.
In fact, I love that label and the artists who appear on it, many of
whom I share an interest in (eg, Omer Avital, Aaron Goldberg, Mark
Miralta, Harry Whitaker *especially* -- all of whom I *have* recorded
already by the way -- along with almost everyone on that label, people
with whom I'm definitely friendly, both personally and musically).
When I say the difference was more marketing than anything else, I'm
saying that all of those artists would be perfectly at home together
on a single label. But for marketing benefit, Jordi chose to present
new artists under a qualified name. I don't think it's hype at all!
You may have looked at my first catalog, but that doesn't say anything
about my direction or who else I have in the vaults. I'm afraid
you've pegged me all wrong. I did have specific reasons for featuring
bebop in the first catalog, but that's another story. I also have
forty hours of recordings of Omer Avital playing live at Smalls in my
"vault".
So please, your completely wrong, and I hope you'll reconsider what
you said.
Luke
Luke Kaven
>I checked your website's new releases,so I know where you're coming
>from...Young traditionalists.[...]
Just to add -- I'm troubled by your labeling of the artists on my
label as Young Traditionalists, with the invective that implies.
[Besides that fact that you didn't read where I wrote that the catalog
would include other kinds of music in the future as well.]
First of all, there is almost nothing that is new today. Almost every
young musician today plays something that was done between 1955 and
1965.
The "avant garde" in jazz is over forty-five years old, and artists
are still calling it "avant garde". It is anything but that. Most
contemporary pianists either take after Bill Evans, Herbie Hancock, or
McCoy Tyner, all of whom made their mark nearly forty-five years ago.
[And I can hardly think of a one who is any good at even that.]
Contemporary saxophonists are recapitulating Coltrane in the period
from 1963-1965, which is forty years ago. Contemporary drummers are
recapitulating Elvin Jones or Tony Williams, also from forty years
ago. The New Eclecticism has yet to become anything other than a
summation of its parts, each of which existed individually for many
years either in different genres or in different cultures. I'd claim
that Bud Powell, Thelonious Monk, Elmo Hope, and Herbie Nichols are
just as worthy influences as any of the aforementioned pianists, not
significantly any older, and often a lot more sophisticated. I would
love it if there were someone who was good enough to really dig where
Eric Dolphy was coming from and have that as an influence.
As for the artists on my label, some of them are of course older. Out
of the younger ones (all over 30 actually), we have the core
constituents at Smalls (which are the subjects of a historical
treatment by me). A lot of what these cats are doing goes beyond
traditional bebop. Listen to Ari Roland's "One For D.T.", which is
quite a bit different from traditional bebop, both in chords and feel.
Harmonically, that's an adventurous tune (the sheet music is posted
for the curious), and the fact that these cats can play the fuck out
of those changes tells me that they deserve recognition in their own
right. And I hope you aren't going to complain about Frank Hewitt,
who really was a bebop pianist, and an extraordinary one who was
overlooked in his own lifetime (which has a lot to do with the makeup
of the first catalog--there is a long story behind this).
By the way, the closest to the "new thing" that I've heard recently
comes from a pianist who is over sixty, one who happens to appear on
FSNT, and who will also appear on my label in the next round -- Harry
Whitaker.
In the end, I'm not saying that there aren't excesses among young
musicians much of the time; I'm saying that these excesses are not
restricted to any particular style or genre. It is very rare -- in
life -- that a jazz artist comes along who is both truly original, and
meets the level of sophistication exemplified by his/her predecessors.
If you think you're in that category, send me a CD.
Luke
Luke Kaven
>Luke Kaven writes:
>
><< They aren't really different--they're both Jordi Pujol's productions. >>
>
>They're completely different.
In one sense they are, and in another sense, they're not. I
understand that they have a different makeup. This disagreement isn't
big enough to take up time.
>The Fresh Sound catalog consists of reissues of relatively old records by
>latter-day artists. There are a few recent recordings, but *most* of the
>catalog was recorded 40+ years ago.
>
>Fresh Sound New Talent features new, original recordings by contemporary (and
>mostly young) artists. As far as I know, there isn't a single reissue in the
>bunch, and not one of the recordings is more than ten years old.
>
>The two projects are completely different, and it should certainly not be
>assumed that someone who likes one will necessarily like the other. The fact
>that some of the same people may be involved in the two companies is totally
>irrelevant. That's like saying, "If you like 'Everybody Digs Bill Evans,' then
>you'll like Dave Ellis' 'In the Long Run,' because both were produced by Orrin
>Keepnews."
Of course Jordi is hoping that people who like one artist that he
produced on his label will like another.
>And saying that the difference is "more marketing than anything else" is like
>saying that the difference between Canada Dry and Orange Crush is "just
>marketing," because both are owned by Coca-Cola.
Again, I'm not suggesting that the marketing is a hype--it's just a
way to attract attention to the newer artists as such. I don't think
there's anything wrong with it.
As far as comparisons, I think the difference is more like the
difference between Chery Coke and Vanilla Coke.
><< You can always get these titles most reliably through Cadence. >>
>
>I don't know why you chose to reply to this section; your implication is that
>Cadence is more reliable than Crazy Jazz. Frankly, I have found the opposite to
>be true. But as I originally said, both *are* reliable sources for Fresh Sound
>releases (whereas some other sites list the titles but don't stock them).
For god's sake, Cadence is the distributor! Anyone who sells these
records (with few exceptions) gets them from Cadence! Doesn't it
follow that you are more likely to find something at the source than
further downstream?
Luke
crib
<< For god's sake, Cadence is the distributor! Anyone who sells these records
(with few exceptions) gets them from Cadence! >>
Are you familiar with Crazy Jazz? It's a mail order company located in Essex
(UK). I suppose it's possible that they get their Fresh Sound releases from
Cadence, but I would be surprised.
I'm not certain, however. I've never asked.
And to answer the question of why I feel Crazy Jazz is more reliable than
Cadence: Two reasons.
1.) In my experience, Cadence is often "out-of-stock" on Fresh Sound (and other
labels) releases. I've found this to be true far less frequently with Crazy
Jazz.
By comparison:
-- The Music Resource is almost always "out-of-stock" on most Fresh Sound
titles.
-- Cadence is often "out-of-stock" on some Fresh Sound titles.
-- Crazy Jazz is rarely "out-of-stock" on any Fresh Sound titles.
That's been my experience, across many orders over several years.
2.) I don't like the way Cadence does business. I don't order individual titles
as they're released; I prefer to place larger orders, once every few months.
When Cadence receives my order, they take it into their stockroom: They package
what they have on-hand, and then scrawl "Check back in a few weeks!" on the
rest of the titles (usually >10% of my order). Filling the rest of my order
requires me to continue "checking in" with them periodically, until they get a
CD. On top of that, they charge a $2.50 "non-subscriber fee" for every
shipment. Because of the way they do business, I am forced to pay that fee two
or three times to fill what should have been a single order.
Crazy Jazz, on the other hand -- along with nearly EVERY other etailer, I might
add; Cadence's practice is both foolish and unique, in this respect -- accepts
my order as a whole, and doesn't prematurely "close" that order until they have
filled it, completely. Sometimes they hold titles, and ship everything
together; sometimes they break my order into separate shipments. Either way,
THEY continue trying to get the CD for their customer -- whereas Cadence says,
"Sorry, we don't have it this afternoon," and shifts the burden back to you.
Cadence's practice is, IMO, a foolish way for a mail-order company to do
business. Don't misunderstand me: I've done business with them in the past, and
I believe they're a significant, good-faith distributor of jazz in the US. But
for the reasons above (and a few others, with respect to different labels), I
prefer to shop with other merchants whenever possible.
crib
Luke Kaven
>Luke Kaven writes:
>
><< For god's sake, Cadence is the distributor! Anyone who sells these records
>(with few exceptions) gets them from Cadence! >>
>
>Are you familiar with Crazy Jazz? It's a mail order company located in Essex
>(UK). I suppose it's possible that they get their Fresh Sound releases from
>Cadence, but I would be surprised.
Okay, I concede that I probably oversimplified the picture.
Luke
crib
thread: I don't pay attention to names, because they're mostly meaningless
online.)
I just checked out your site. I hadn't heard of your label, previously; but
you've got some killer stuff there. As soon as I saw that Ned Goold title, you
had me sold. I was thinking about him the other day, and meant to email Ben
Wolfe. Goold had a trio record scheduled for release from some brand-new indie
label a year or two ago, but nothing ever happened with it (as far as I could
tell). I've been curious what Goold's been up to.
I don't know whether your release is that same recording, or something else;
but if it's Goold, I'm sold.
So: Your site says stuff will go on sale "late spring of 2003." If you're up
and running, let us know how we can buy your stuff. I'll order the Goold disc
immediately -- and I'd like to check out a few other things, as well.
Feel free to email me directly -- but I suspect other RMB members would be
interested in your response.
And FYI -- The trumpeter who mentioned your label in this thread is a solid
musician. I'll leave it up to him, if he wants to identify himself (although he
has in the past, and probably wouldn't mind). I love his first record, and he
just released a second. He's a great player, and a friendly guy.
crib
Ron Ahern
to Australia) - no problems - excellent service.
etherboard
-------------
many regards to each of you.
this is -exactly- what i was after.
i was about to order from planet records, which if i'm not mistaken, is what
blue moon may have been in a prior incarmation.
naturally, as the fresh sound/blue moon site was up today, i found many
tasty titles to choose from (not to mention that great RCA spain catalog).
what's the consensus on ordering from crazy jazz over blue moon? as blue
moon seems to be fresh sound's retail arm, it would seem that titles would
flow seamlessly and one would then stay on a fresh sound mailing list.
also, how do the fresh sounds come down on the audiophile front? luke?
btw, i did have an understanding about FSNT's relationship to fresh sound
proper before this round of posts.
crib
<< what's the consensus on ordering from crazy jazz over blue moon? >>
As the fellow who mentioned Crazy Jazz: I can't say, because I've never ordered
from Blue Moon.
As far as Crazy Jazz, I'll say this: It's not the cheapest source of jazz on
the 'net, with regard to most labels. But it's the most reliable source for
some labels, and the ONLY (English) source for a few others. Most of my
purchases are from overseas labels, and it's worth my money to buy from Crazy
Jazz. They have everything I'm looking for, and they've always given me
terrific customer service.
I buy my domestic jazz mostly from Amazon, CDUniverse, Downtown Music Gallery
(Manhattan), and Twisted Village (Cambridge).
crib
etherboard
etherboard
visual makeover -and- their prices are certainly higher than blue moon's
(although i've yet to net out shipping and currently conversions)...
.
Luke Kaven
>BTW, Luke: I had never noticed your email address. (As I've said in another
>thread: I don't pay attention to names, because they're mostly meaningless
>online.)
>
>I just checked out your site. I hadn't heard of your label, previously; but
>you've got some killer stuff there. As soon as I saw that Ned Goold title, you
>had me sold. I was thinking about him the other day, and meant to email Ben
>Wolfe. Goold had a trio record scheduled for release from some brand-new indie
>label a year or two ago, but nothing ever happened with it (as far as I could
>tell). I've been curious what Goold's been up to.
Thanks very much, I really appreciate the compliment. I'm glad to
hear that you like Ned Goold. Ned's been appearing at Smalls for many
years, off and on, sometimes as a late night weekly feature. I've
been lucky enough to hear a lot of him and to spend a lot of time
talking to him about music. He does some very adventuresome things
with synthetics, having worked out an elaborate system that he can
deploy over standards. In this record, he plays retrograde cycles
over the changes to standards, getting Neal Caine to set it up for
him. [Ben is, as you know, his other cohort on bass, and a great one
at that.] Most people won't get it, I suspect, and to be fair, one
has to virtually go into a trance to hear what Ned's doing, and to
catch the way that it swings. [Some people think it all sounds the
same, but not to me.] I was determined to give Ned wider exposure,
because I think what he's doing is so interesting. If enough people
like you end up buying his record, I'll keep making them.
I'm fairly sure that this is the recording you heard about.
>So: Your site says stuff will go on sale "late spring of 2003." If you're up
>and running, let us know how we can buy your stuff. I'll order the Goold disc
>immediately -- and I'd like to check out a few other things, as well.
Yes, there has been a delay of almost a year while the exit of my
ex-partner was negotiated, and this took until...basically today. I'm
very sad that it happened that way, and sad that the musicians had to
wait so long before seeing their records get released. And of course
it made my life very difficult. There are still a couple of steps to
make, but at least the process is now in my hands. Capital has been
very hard to come by in the current economy. But I'm determined to
make it work. I'll keep you informed of the release schedule.
My one labor of love was recording Frank Hewitt, and I'm determined to
make the world more aware of who he was, and why he was so important
to a lot of cats around NY. Hope you will like that too.
>And FYI -- The trumpeter who mentioned your label in this thread is a solid
>musician. I'll leave it up to him, if he wants to identify himself (although he
>has in the past, and probably wouldn't mind). I love his first record, and he
>just released a second. He's a great player, and a friendly guy.
I realized after looking around who he is, and as it turns out, we
know a *ton* of people in common (including among many others,
Rosenwinkel and Ballard, Goldberg, Harland, Turner, and on and on).
He made a mistake in interpreting what I wrote, so I wrote him a long
personal note, and here's hoping that we'll be on good relations soon.
Thanks again for writing...I needed a boost today.
Best wishes, Luke
crib
<< I'm fairly sure that this is the recording you heard about. >>
Probably is. I remember seeing the title on a web page; I don't remember the
URL, but it's no longer online. I just remember being psyched to hear it -- and
a bit surprised to see that it wasn't being released by Amosaya, since I'd
heard such good things about that label from Ben.
FYI, if you're interested, I published an interview with Ben about two years
ago.
http://www.allaboutjazz.com/iviews/bwolfe.htm
I'm working on a couple of other interviews, at the moment. But I'm always
looking for new material; so if you are looking for press when you start
releasing records, keep me in mind. I'd be interested to meet some of the folks
I see on your site -- and I'd definitely be willing to take a train ride to sit
down with Goold. I've been a fan of his since his first disc, and I'd be only
too happy to help get him exposure.
<< I realized after looking around who he is, and as it turns out, we know a
*ton* of people in common (including among many others, Rosenwinkel and
Ballard, Goldberg, Harland, Turner, and on and on). He made a mistake in
interpreting what I wrote, so I wrote him a long personal note, and here's
hoping that we'll be on good relations soon. >>
As I said, he's a friendly guy. It wouldn't even occur to me that he'd hold a
grudge; he doesn't seem like the type. And besides, he's not one of those
putzes who spends enough time on newsgroups to take things personally....like,
for example, me. ;-)
Definitely add me to your mailing list. Now that I know about this stuff, I'm
looking forward to hearing it.
crib
Luke Kaven
>FYI, if you're interested, I published an interview with Ben about two years
>ago.
>
>http://www.allaboutjazz.com/iviews/bwolfe.htm
That's a nicely done interview! Ben is usually a man of few words,
but you succeeded in getting him to open up. He's one of my favorite
bass players, up there on the list with Dwayne Burno, Ari Roland, Neal
Caine. [Speaking of bass players, if anyone knows the whereabouts of
Steven Neill, I'd really like to know. He's one of the rarest of the
rare.]
>I'm working on a couple of other interviews, at the moment. But I'm always
>looking for new material; so if you are looking for press when you start
>releasing records, keep me in mind. I'd be interested to meet some of the folks
>I see on your site -- and I'd definitely be willing to take a train ride to sit
>down with Goold. I've been a fan of his since his first disc, and I'd be only
>too happy to help get him exposure.
Consider it a plan! The work that Ned does with Ben is some of my
favorite material. Add Mags and it's a hell of a group. Ben's second
album is one of the few contemporary albums I've bought in recent
years. Ned has a house in NJ these days, and is always game to come
in to Manhattan for sessions, anytime, day or night. I'm sure he'd
enjoy meeting you. Definitely a lot of people don't understand his
music. His influences are more from Bix to Bird than anything else,
but one has to listen hard to get that. I love the scathing review he
wrote of his own record on Entropy (I think) under a pseudonym. It
seemed to fool a lot of people, surprisingly.
As far as Smalls Records, I'm grateful for the attention. We'll get
one chance to make an impression and that's it. There are a lot of
good stories in there. Anything one would care to contribute would be
most welcome.
Thanks for writing. I'm curious which email is better for you, the
one here (suitably decoded), or the one linked to the AAJ interview?
Best, Luke
Martin S. Milgrim
jazz CD collection consists of music recorded between 1945 and 1969.
I'm not interested in buying or collecting CDs by young, albeit very
competent musicians who, for the most part, recapitulate stuff that was
most exciting and "of the moment" (to use Francis Davis' well chosen
phrase) some 35 to nearly 60 years ago. As an example, I can go to a
live concert and see Eric Alexander or Grant Stewart (not as well known,
and maybe not recorded as of yet), both terrific tenor players, and
enjoy myself greatly. But I have no desire to purchase CDs of theirs
with yet more versions of McLean's "Little Melonae", Trane's "Straight
Street", Rollins' "Solid", etc. It's a dilemma, because I'd like to
support their efforts more, but CDs are pricey, and the bottom line is
that if these players are going to go up against a Trane or a Rollins,
etc., guess who's going to win that battle?
Nearly 30 years ago, I had the pleasure of talking with Sam Rivers at
his Studio Rivbea, and he himself said about jazz, "it's all been done".
With rare exceptions (which I do purchase or otherwise acquire), this
75+ year old avant garde artist was right then and now.
Martin
Robert Aries
description for these guys:
"xeroxes"
In article <3F1FB9DA...@gate.net>,
still...@webtv.net
Bob Brookmeyer - The production of a complete sound then offers the
position that two sounds are available. Exponentially, 10,000 sounds are
available.
Bradley Evans
> 2.) I don't like the way Cadence does business. I don't order individual
> titles as they're released; I prefer to place larger orders, once every
> few months. When Cadence receives my order, they take it into their
> stockroom: They package what they have on-hand, and then scrawl "Check
>
> Crazy Jazz, on the other hand -- along with nearly EVERY other etailer,
> I might add; Cadence's practice is both foolish and unique, in this
> respect -- accepts my order as a whole, and doesn't prematurely "close"
> that order until they have filled it, completely.
To each their own, I guess. The "ship what you have on hand" policy is
far preferable to me as a customer and I get very annoyed when someone
places a CD on backorder without first asking me if it's okay to do so.
I agree with you about Cadence's ridiculous "non-subscriber fee", though.
Their shipping charges are quite high too, at least for non-US residents.
-Brad
Trumpet Guy
> ...and your observations on fresh's masterings?
Mastering is chosen by the artist,so most are different.
Trumpet Guy
> A good friend of mine and fairly well-known musician has a single-word
> description for these guys:
>
> "xeroxes"
OUCH!!I will take that personally :)
Let me check out your friend,now...
Trumpet Guy
They're each done by the artist's choice,so there are differences.Not
one master-er for all their Cds.
Sorry to misinterpret, Luke.I'll be looking for those releases too!
Luke Kaven
>"etherboard" <et...@attglobal.net> wrote
>> ...and your observations on fresh's masterings?
>
>They're each done by the artist's choice,so there are differences.Not
>one master-er for all their Cds.
>
>Sorry to misinterpret, Luke. I'll be looking for those releases too!
No hard feelings, Phil, not at all. I'll be looking for your release
(if only I had money for that and a few things) too. I'm wagering
that it's excellent in all ways. I hope to hear you at Fat Cat
sometime in the near future, if you can ever get away from Boston.
Hope you'll talk to Mitch Borden next time you're in New York.
Best, Luke
etherboard
no offense - i'll take what i can get and see what comes of it.
thanks again, especially for the john laporta tip.
crib
<< somehow, i feel my follow up questions have been buried. >>
For my part, I only noticed one -- about mastering, which I don't have any
comment on, so I didn't respond.
If you've got more questions, feel free to ask.
<< thanks again, especially for the john laporta tip. >>
John LaPorta rules.
He's just produced a new CD, which he's selling himself, via mail-order. I'll
dig up his address this weekend, and post it for RMB folks. Hopefully, every
single one will send him $15 for their own copies. Besides the fact that he's
the man, you've GOTTA support independent music -- and it doesn't get much more
indie than taking orders from your home address.
crib
Robert Aries
more at the "young lions" that are essentially recreating 30s & 40s
jazz, NOT the musicians mentioned here! I should have been more careful
about posting this. (I do think it's a good description of some of those
guys though!).
My friend would prefer to remain anonymous but I'm pretty sure you HAVE
checked him out already!
PS--I try to xerox 60s & 70s jazz...still working at it :-)
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