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Cereal-cast: "They email to our brain…" .m4a (4185 KB)

Recorded on & Sent from my iPhone

Posted via email from jeremy mandle posts here.

I_Hope_I_Dont_Fall_In_Love.mp3 (3161 KB)

Recorded: March 31, 2002 in my old apartment @ 85 West Walnut St., Asheville, NC

I came across this while cleaning up my library after the iTunes 9 upgrade this morning and felt like sharing. This was recorded using a yard sale, Sony passive electret condenser microphone direct to hard disk via Sound Forge using my L’Arrivee Parlor Guitar. The “quality” of my voice is likely due to a long night of cigarettes, PBR, & yelling in the Vincent’s Ear courtyard in Asheville, NC the night before.

Posted via email from jeremy mandle posts here.

Who did the artist(s) thank?
Where was it recorded?
Are there any candid photos could act as a window into the musicians soul?
All of this information was part of the experience of obtaining new music and I’ve taken it for granted.
Alot of passionate people work really hard to produce that album you purchase, shouldn’t we be able to read some of their names in the “package”?
I know on some iTunes album downloads a PDF booklet is included at the record label / artists discretion.
Maybe the content distributors should step up and include an XML file that can be read by music players that contains the album credits… at the very least. Perhaps Myspace, Facebook, Last.fm, etc… have in a way replaced the album liner notes. Want candid photos, look online. Want to know who the lap steel player was on that track, check Last.fm.
 
Imagine if downloadable movies were stripped of their ending credits… If they only appeared online and on the DVD case. That would never fly.
 
I feel less informed about my music collection. 10 years ago I began ripping my CD collection to MP3 unaware that I’d soon banish those jewel cases and the fantastic booklets of information the protected to the attic, instead leaving the accompanying CD to the mercy of some 250 compartment folio. When did convenience become such an important factor in owning a large music collection?
 
Now having said all that I do believe that curtailing the needless use of plastics in the packaging, promotion, and distribution of music is a great thing. And there are still some albums that I will buy the old fashioned way. Here’s what I’d like to see at some point.

1. 1. When purchasing and downloading an album I’d like it to include at least a high quality PDF of the CD booklet as well as a computer / portable media player readable version of the textual content. Some kind of open format would be best.
2. The opportunity to pay more for the download and be albe to “purchase media”. Much like the software industry has done. For a $8.99 download I’d pay an extra $5 if they’d ship me the actual CD.

Any thoughts, insights? I’m sure this topic has been discussed / debated at great lengths many times over. I just felt compelled to honor my own inner discomfort with this post.  So chime in all you listeners, musicians… What do you think?

Sent from my mobile

Posted via email from mandle

Philadelphia Twestival
February 12th, 2009 – 7:00pm
The Get Happy Pub 509 S 2nd Street, Philadelphia, PA 19147

Support charity: water by donating and tweeting your favourite tunes via Twestival.fm. The tracks are available to stream/download until 19th Feb 2009. All they ask is that you give generously. You can make a donation here or give directly using Twitter. Follow them @twestivalfm for exciting updates. If you are an artist/label, signed or unsigned, live or electronic, and would like to get involved, please upload your track to the Twestival Dropbox by 12th Feb. Cheers!

Go to their site right now. Put your email address in the box. Press button to submit the form. Wait a few minutes. Check your email. Click the link, download the 38mb file. While it’s downloading read about them. Unzip it. Start listening to the album. Start disbelieving. I even set the link to their site to navigate you away from my blog because I trust that once you’ve read about what Patrice and the kids are doing in Cognac, and listened to them you’ll come back and finish this article. Of course I haveto finish the article. So for now just enjoy the choir

Look how much fun they are having! Have you seen kids in an American Middle School classroom having this much fun?

He’s Simple, He’s Dumb, He’s the Pilot

Track 1: He’s Simple, He’s Dumb, He’s the Pilot”
I was expecting a Pink Floyd-esque treatment of this one from the onset, but quickly realized that Patrice’s arrangements are all his own. He has the kids speaking in very mature voices at times, mature in tone and in that most of the girls are at the bottom of their vocal ranges at times. This creates an important weak and fragile quality to their voices. If you are going to do Grandaddy. You have to be able to do weak and fragile. Overall this rendition gave me chills, especially when I realized that alot of the kids might have no idea what they are singing about, then their accents come through and giggle and weep a bit.

Track 2: “The Go in the Go For It”
I know this song very well. It makes it into almost every shuffle of my iPhone. Usually shows up within the 1st 50 tracks. Anyways, I was wildly distracted by the overly distorted guitar sound that kicks off the song, and the 4 girls were very drowned out by it. No matter, as soon as they hit the chorus their harmonies really level things out. I smiled as soon as I heard that highest harmony  I love how they say “zat”, instead of “that”.

Track 3: “Nonphenomenal Lineage”
Patrice says that this track reminds him of the Surrealist Munch’s “Le Cri” (“The Scream”). Lush soundscape, lilting, long sustaining voices, even tone qualities, and arpeggios all meld into quite the surreal landscape.

More to come…

Josef Erich Zawinul (July 7, 1932 – September 11, 2007) was a jazz keyboardist and composer.
First coming to prominence with saxophonist Cannonball Adderley, Zawinul went on to play with trumpeter Miles Davis, and to become one of the earliest musicians to play jazz fusion, which blended jazz with rock and roll. Later, Zawinul co-founded the groups Weather Report and the Zawinul Syndicate. Additionally, he made pioneering use of electric piano and synthesizers. Zawinul won 30 times the “Best Keyboardist” award from American jazz magazine Down Beat’s critics’ poll.^[1]

Several artists have honored Zawinul with songs, notably Brian Eno’s instrumental “Zawinul/Lava“, John McLaughlin’s instrumental “Jozy”, Warren Cuccurullo’s “Hey Zawinul” and Biréli Lagrène’s instrumental “Josef”.

click here for the Wiki Article

Roach received his first musical break at age 16, filling in for three
nights in 1940 when Ellington’s drummer fell ill.

Roach’s performance led him to the legendary Minton’s Playhouse in Harlem,
where he joined luminaries Charlie Parker and Dizzy Gillespie in the
burgeoning bebop movement. In 1944, Roach joined Gillespie and Coleman
Hawkins in one of the first bebop recording sessions.

What distinguished Roach from other drummers were his fast hands and ability
to simultaneously maintain several rhythms. By layering different beats and
varying the meter, Roach pushed jazz beyond the boundaries of standard 4/4
time. His dislocated beats helped define bebop.

Roach’s innovative use of cymbals for melodic lines, and tom-toms and bass
drums for accents, helped elevate the percussionist from mere timekeeper to
featured performer — on a par with the trumpeter and saxophonist.

“One of the grand masters of our music,” Gillespie once observed.

In a 1988 essay in The New York Times, Wynton Marsalis wrote of Roach: “All
great instrumentalists have a superior quality of sound, and his is one of
the marvels of contemporary music. … The roundness and nobility of sound
on the drums and the clarity and precision of the cymbals distinguishes Max
Roach as a peerless master.”

Throughout the jazz upheaval of the 1940s and ’50s, Roach played bebop with
the Charlie Parker Quintet and cool bop with the Miles Davis Capitol
Orchestra. He joined trumpeter Clifford Brown in playing hard bop, a jazz
form that maintained bebop’s rhythmic drive while incorporating the blues
and gospel.

In 1952, Roach and bassist-composer Charles Mingus founded Debut Records.
Among the short-lived label’s releases was a famed 1953 Toronto performance
in Massey Hall, featuring Roach, Mingus, Parker, Gillespie and pianist Bud
Powell.

But by the mid-1950s, Roach had watched several of his friends — including
Parker — die from heroin addiction. In 1956, Roach was further devastated
when Brown died in a car accident.

After his own struggle with drugs and alcohol, Roach rebounded with the help
of his first wife, singer Abbey Lincoln. Married in 1962, they divorced
eight years later.

Roach re-emerged in the 1960s free jazz era with a new political
consciousness. Albums like “We Insist! Max Roach’s Freedom Now Suite”
reflected his support of black activism.

Over the next decades, Roach expanded his repertoire and explored new
challenges. He taught at the University of Massachusetts, traveled to Ghana
in search of new music, and performed with groups from Japan and Cuba.

He also formed an all-percussion ensemble known as M’Boom, a quartet and a
double quartet that included Roach’s daughter Maxine Roach on viola.

Roach even worked with rapper Fab Five Freddy in the early 1980s. Ignoring
critics, Roach insisted rap had a place on music’s “boundless palette.”

Roach, who in 1988 became the first jazz musician to receive a MacArthur
Fellowship “genius award,” said his curiosity reflected his sense of
obligation to music. He was inducted into the Grammy Hall of Fame in 1995.

Max Roach was born in New Land, North Carolina, on January 10, 1924. His
family moved four years later to a Brooklyn apartment, where a player piano
left by the previous tenants gave Roach his musical introduction.

Using player piano rolls of Jelly Roll Morton and Albert Ammons, Roach
played along by putting his fingers on the keys and pedals as they rose and
fell. But he was looking for another instrument to play when he began
singing with the children’s choir at the Concord Baptist Church.

Roach found a snare drum, and was hooked. His father gave the eighth-grader
his first set of drums, and Roach was drumming professionally while still in
high school.

He was survived by five children: sons Daryl and Raoul, and daughters
Maxine, Ayl and Dara.

sign Max’s Guest Book