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If You Cannot Say Something Nice

Written by [Anthony Dean-Harris]

One part of being in the jazz blogosphere that I sort of like is the idea of having colleagues. These are the folks that I typically hyperlink in my weekly posts. From time to time, something comes up on one person’s radar and reaction spreads through the rest of the blogosphere. One minor blip came from a certain jazz video blogger that due to editorial suggestion here at Nextbop, I’m not going to link or embed.

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Brad Mehldau Has Done It Again

Written by [Anthony Dean-Harris]

I couldn’t be happier to write about [Brad Mehldau] in the wake of his releasing his new album, [Highway Rider]. It was Mehldau who forever changed the way I thought about jazz music. Mehldau has been considered for some time to be at the forefront of the modern jazz movement (as Nate Chinen has been noting with great fervency at [his blog] last week). His dalliances with a wide variety of genres ranging from indie rock to classical to opera have poised him to become a catch-all ringleader of the current modern jazz movement.

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There is No Box

Written by [Anthony Dean-Harris]

[Jason Parker], [@1WorkinMusician], recently [received a grant] to reinterpret Nick Drake's Five Leaves Left album. Based on how brilliant his quartet's cover of [Three Hours] is off his latest album, No More, No Less, this project will likely go well and I'm rather excited to hear it. [Drake's compositions seem to lend themselves to jazz covers]. This is not entirely unheard of. Brad Mehldau has been covering Drake for many years now. Classical pianist Christopher O'Riley has also released [an album of Nick Drake covers]. This sort of this most certainly isn't new. But for Parker to undertake the daunting task of covering an entire album, track by track (including the songs that probably won't work in a jazz sense like "Thoughts of Mary Jane" or "'Cello Song," but maybe I just don't have a vivid enough imagination), and forever brand himself as the one who felt he could repaint a masterwork oil painting in watercolors is certainly a lofty job. It's also the kind of thing for which jazz is made.

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For Your Continued Support

Written by [Anthony Dean-Harris]

My home radio station, [KRTU San Antonio], is currently in the middle of its semiannual pledge drive. Since I volunteer at a non-commercial, public radio station, much of its operation budget comes from listener donations, so twice a year, we make a plea to our audience (hopefully you’re included in that, dear reader) to donate to KRTU and become a member of the station. This schilling process involves a series of rather detailed pitches to the listener on why supporting the station and jazz music is important.

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DMCA: Hurting More Than It Helps

Written by [Anthony Dean-Harris]

Last week, I attended a meeting at my charming little non-commercial radio station, [KRTU San Antonio], about general protocol and other things on which the volunteer DJs may have needed some catching up on. The rigmarole covered the usual: the program that runs the music, refamiliarizing everyone with the sound board, preparing for the upcoming spring pledge drive (KRTU is non-commercial, listener-supported radio), and refreshing ourselves with FCC protocol. The meeting was going well. Rarely are there times when all the DJs are in the room at the same time, so that was clearly nice. Everything was going alright until we had to go over the steps to make sure we were compliant with the [Digital Millennium Copyright Act].