Posts filed under “Digital Media”
One of the fascinating things about YouTube is that it grants you access to video you would never have come across on your own. There simply never was a mechanism for finding and viewing clips of this sort before.
"Media," tracing its way back to the Gutenberg Printing Press, started out broadcasting as a priviledged few-to-few. The rise of the Mass Media in the 19th (Print) and 20th (Electronic) centuries turned media into a few-to-many communication form.
Today, media is many-to-many.
Which leads me to this video clip from the South African jungle. It is utterly fascinating — I can guarantee you’ve never seen anything like this before. Perhaps there are some lessons in it for life.
Tonite’s guest host for FNJ is a music insider. Although he is known better for many of the newer acts he represents, he is, surprisngly enough, a closet jazz aficionado, and therefore must remain anonymous.
Here’s his take on the O-man:
Oscar Peterson has been recording and performing for over half a century. He may also be the most recorded of all piano players. (And he’s from Canada).
Oscar bridged the swing and bop eras, rooting himself in a style that was at the same time stunningly complex yet elegant and soulful. Nobody used more notes to swing! Oscar is sometimes dismissed because he wasn’t groundbreaking in the way that many of his contemporaries were. But the range of expression he achieved on the piano, and his technical prowess, is hardly rivaled in mainstream jazz.
Many consider his solo recordings of the late 60s and early 70s to be his most outstanding work, but I was always partial to his trio recordings both with Ray Brown and Ed Thigpen and later with Joe Pass and Niels-Henning Orsted Pederson. The live album "The Trio" from 1973 (not to be confused with a Verve release of the same title) is a great recording of Oscar with Pass and Pederson and shows Oscar at his most virtuosic. Check out the Brown Thigpen work live here.
compendium of his 60s work in both trio and solo settings, the
excellent box set "Exclusively for My Friends" will keep you
entertained for years. Of course, there are the standard "songbook"
albums (George Gershwin, Cole Porter, etc.) and the duets with greats like Ella Fitzgerald, Count Basie, Clark Terry and
But if I had to pick one place to start, and on a
Friday night with your favorite Bordeaux, it would be the 1962 album "Night Train" with Ray Brown and Ed Thigpen
It showcases Oscar at his best on both ballads and uptempo numbers and he really shows his blues chops. In particular, note the title track, Bags’ Groove (one the great jazz classics), Moten Swing and Elllington’s great C-Jam Blues. The bonus tracks added to the reissue aren’t particularly special, but don’t diminish Peterson’s brilliance on this record.
(videos after the jump)
Pat Metheny is one of those guitarists that was always interesting, but he never really floated my boat. His style is kinda New Age-y, a bit too cold/technique focused for my preferences. I can see why some people say he is an acquired taste.
However, a friend in the music industry (with meticulous taste) had recommended his latest album with pianist Brad Mehldau (Metheny Mehldau Quartet) to me, and on his suggestion, I gave it a whirl.
It is a delightful surprise.
It is an eclectic disc, ranging from a mix of jazz fusion, acoustic, Celtic, pop, Asian-tinged (41 string guitars!) to Brazilian music. Somehow, this odd and always changing mix seems to work on nearly every track.
This is the second pairing of Metheny and Mehldau colloboration, the first being Metheny/Mehldau.
The pairing works well. Mehldau brings a degree of warmth and intimacy
often missing from more traditional Metheny recordings.
Metheny frequently returns to his earlier electric jazz guitar style, but it seems to work so much better in this quarter than any previous work I’ve heard from him. Its worth checking out.
For those interested in how this pairing came about, there is a two part interview with Metheny and Mehldau after the jump . . .
Turns out it was Gerry Mulligan‘s CD, Paraiso-Jazz Brazil. An eye opener. Clean, cool recording of lovely Latin melodies, all the while overlaid with this dry, reedy saxophone that infused the music with a flavorful sophistication.
That was Gerry Mulligan’s sound. NPR radio observed that Mulligan was "the most influential baritone saxophonist in jazz." But Mulligan was more than that — he was a
commanding composer, an innovative musician, someone who pushed boundaries, yet remained accessible and enjoyable to listen to.
Mulligan’s light and airy baritone saxophone was the epitome of the the "cool" jazz sound. Yet its amazing how easily he could interact with many other musical styles: Ben Webster’s blustery tenor (the epitome of a "warm" sound); Monk’s percussive, fractured piano rhythms and dissonant tunes; the sweet, subtle tension between Mulligan and Chet Baker.
You can pretty much grab any random Mulligan album (I put up a decent selection here) and not be disappointed. You will see scattered around a broad selection of different styles, eras, and musical cohorts.
Are you a Brubeck fan? Monk? Chet Baker? Webster? Desmond? Grab anything, sit back and enjoy.
Mulligan became known for his writing and arranging skills in his teens. He wrote for Johnny Warrington’s radio band in 1944, and for Gene Krupa’s band two years later.
Mulligan hit the big time when he became known for his work (writing, arranging, and soloing) on Miles Davis’ defining album, "Birth of the Cool." Gerry’s compositions for this album included "Jeru," "Godchild," and "Venus de Milo," all songs that would remain in his repertoire long after the initial success of the album had died down. (This album launched and aided several careers of important jazz figures).
Mulligan’s last record came out as one of his most beautiful. Lovely tunes, clever arrangements, and understated fabulous players mark his last recording (John Scofield and
Grover Washington, Jr. play on this).
Mulligan Discography (massive PDF)
We have long criticized the absurd Retail pricing of CDs. A few years ago, we asked the question Are CD Prices Getting More Dynamic?
It seems that some people in the industry have actually read The Long Tail, and figured out that they are better off pricing older catalog CDs aggressively, and actually selling them, rather than maintaining an absurd list price for 20, 30, even 50 year old recordings, and letting them sit in some warehouse somewhere unsold.
At the same time, it must be mentioned that the preponderence of utterly brain damaged morons in positions of authority in the Music Biz has not attenuated one tiny bit. They are the anti Long Tailers, also known as The Fat Heads.
The latest evidence of blunt head trauma syndrome is via this little piece of advanced rocketry: To sell used CDs in some states, at the behest of the industry, you are required to: 1) have your fingerprints taken; 2) endure a 30 day waiting period; 3) only recieve store credit for used CDs (not cash).
Meanwhile, in the world of online retailing, Amazon has done a decent job taking CDs and recordings that are Long Tail — either via age, or obscurity, or just overdue — and making them available at more competitive prices.
As traditional CD sellers disappear, the long tail catalog will be found increasingly at Online retailers, while the Big BOx (Wal Mart, Best Buy, Target) only carries the latest top 50 hits.
It makes smart business sense to use Amazon to blow them out.
After the jump, there’s a handful of Discs I pulled from Amazon — most are $7.97 . . .
NARM Coverage: New Laws Threaten Used CD Market
Ed Christman, Chicago
Billboard May, 01, 2007 – Retail
Record shops: Used CDs? Ihre papieren, bitte!
Ars Technica,May 07, 2007 – 01:23PM CT