Hi Tumblr,I’m trying to determine for what IFPI and Jeremy Banks are claiming copyright. You sent me a link with your notice (http://a.tumblr.com/tumblr_lnycztQTEX1qzpj6zo1.mp3)
Unfortunately, this link is not visible to me. I get an error message when I click it, just like last time you sent me one of these notices. Therefore, I have no idea what is being infringed upon, and I would very much like to know.
It seems you might have a better idea how to do this by now, having sent thousands (millions?) of these messages, because this is the second time I’ve had to get in touch with you in order to find out what new bee is stuck in Jeremy Banks’ little blue bonnet, i.e. what mp3 it is I have chosen to share with my followers.
The IFPI chooses to see this as an act of piracy, but I see it very differently. To me, all this digital policing is counterproductive to the ends the IFPI wants to engender, as what I’m doing is nothing more or less than free marketing for Jeremy Banks’ musicians, aka his “clients.” To that end, I wonder what his “clients” would actually think and/or say if they knew that little old anonymous me “shares” mp3’s that I “own” because I, you know, “bought” the CD/mp3 with money from my own pocket, or even better, converted an old LP to digital so I could share the music with my digital brethren.
Sharing music on Tumblr is free marketing and advertising for these musicians and their companies, end of story. It is not at all like stealing (piracy? really?) in that I own the music and am actively evangelizing that music to a heroic horde of hungry listeners on Tumblr.Unfortunately, I am also old enough to know that venal ignoramuses actually do dominate most of the world (and Tumblr has no backbone to defend the little guys! but I digress), so this is all par for the capitalistic course, and additionally, completely disheartening/discouraging/disgusting to me, and—from a cursory look around Tumblr—many other users on Tumblr.Please appreciate that my G-rated invective is masking some NC-17 thoughts about Jeremy Banks, and unfortunately, about Tumblr, too. I’m trying very hard to play nice.Your anti anti-pirate,
Bennie Green - Love At Last (1959)
Sonny Clark obscurities, cont’d
Sonny Clark and Bennie Green, blended to perfection.
Horace Silver (September 2, 1928 – June 18, 2014)
Pictured here outside KRE Radio in Berkeley, CA, on January 13, 1983. (photo: Brian McMillen)
Long live the Hard Bop Grand Pop.
Last one from the Euclid Records blog:
From late 1957, more pictures from the Bernie Thrasher photography file. It was right around New Years heading into 1958 when the Max Roach band featuring Kenny Dorham and Hank Mobley made there way to the Glass Bar (Peacock Alley) here in St. Louis.
Another gem from the Euclid Records blog:
We take you back to 1957 and Art Blakey and the Jazz Messengers made there way to St. Louis’ Peacock Alley.
This edition of The Messengers included Bill Hardman on trumpet and Jackie McLean on alto. I believe the rest of the band included Sam Dockery on piano and Spanky DeBrest on bass. This was an interesting time for Blakey, as he was recording for a number of different labels including Pacific Jazz, RCA, and a collaboration with Thelonious Monk on Atlantic. All this while taking a hiatus from Blue Note.
The first picture is a nice head on shot of Blakey with his Gretsch set up.
The next shows Blakey along with Hardman, McLean and DeBrest.
The bottom shot is Blakey telling the audience (as was his custom) to "buy two jazz records every week at your local record store." (photos: Bernie Thrasher)
Words to live by.
From the Euclid Records blog:
In 1957, Dizzy Gillespie’s Big Band made it through to St. Louis for a one-nighter as they traveled cross country from New York to LA. I was told they performed at a theater in East St. Louis, maybe someone can clue me into the name of the venue. Here we have photos taken that night of arranger and alto man Benny Golson working up his charts for the band. Also Lee Morgan, the lead trumpeter, is shown backstage with his Dizzy-style tilted bell trumpet. This is the same horn shown on the cover of Blue Note LP 1538 Indeed. (photos: Bernie Thrasher)
The Miles Davis Quintet, photographed at Peacock Alley in St. Louis MO circa November 1955 (photos by Bernie Thrasher)
Via the Euclid Records blog:
Miles had just put together his new quintet with Philly Joe Jones, Paul Chambers, Red Garland and John Coltrane and took up residence in St. Louis for a week before recording their first session with Prestige Records. This engagement has been well documented on the VJM recording Miles Davis at Peacock Alley, as well as Quincy Troupe’s book Miles and Me. Here for the first time are photos from those dates. The first photo is of Philly Joe Jones; note the saxophone on the floor in front of the bass drum, belonging to Mr. Coltrane. The second shot is Miles and Paul Chambers. Dig the glasses on Miles! The third is Coltrane himself with Chambers, Miles and Red Garland in the background.
Miles Davis and wife Cecily Tyson at the Schiphol Aiport in Amsterdam, April 27, 1982 (photo by Marcel Antonisse)
Thelonious Monk arriving in Amsterdam for a concert on February 14, 1964 (photos: Jac de Nijs, c/o the Dutch National Archive)
Ike Quebec - I’ve Got a Crush on You (1962)
From Michael Cuscuna’s liner notes:
As Rudy Van Gelder told me recently, “Ike always played beautifully, even at the end, when he was dying…I mean literally dying.”
The February 28, 1963 issue of Down Beat Magazine headlined its news section, “Two great losses within four days: Two Jazzmen Die in New York City.” on January 13, Sonny Clark died; the official reason given was a heart attack. On January 16, Ike Quebec died after five weeks in the hospital where he was being treated for lung cancer. Quebec was 44, Clark was 31, and the music on this album was a few days short of a year old.