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[J.J. Blair]

I just wanted to let you guys know that the second allaboutjazz.com started featuring Kind of Black, the Hammond/upright/drums trio, the Casualties of Jazz, that I produced doing Sabbath covers, our cdbaby sales have picked up a new head of steam.  Coincidentally, Bass Player has the CD as one of this month's recommendations, but I'm guessing that the cdbaby sales are coming from allaboutjazz.com, because there's no mention of cdbaby in Bass Player.  

Now, cdbaby FINALLY delievered the music to iTunes music store a month ago.  Too bad the album isn't available while there is free press.  

So, for any of you fellow indy labels outting out jazz titles, I'm giving them a thumbs up so far.

Oh, and here's a something cool I found out.  One of the guys who bought the CD said that Marcus Miller recommended it to him.  Now when a great player and record producer like that likes something that you conceived and willed into existence, you've got to feel good about that!

Any while you're at it: www.cdbaby.com/tcoj

[j.hall]

does this mean your record will go higher then linolium?

[J.J. Blair]

Double linoleum!

[recorderman]

 

[Fibes]

I agree.

This AAJ review did wonders for my underdeveloped ego:

Quote:

The Richard Leo Johnson Trio Poetry Of Appliance Cuneiform Records Guitarist Richard Leo Johnson is primarily self-taught. However, there wouldn't be a hint of that here on this superlative effort. Along with keyboardist Andrew Ripley and electric/acoustic violinist Ricardo Ochoa, the guitarist fuses a starkly organic foundation with ringing electronic overtones. Johnson's unique tuning practices on his various acoustic guitars offer a point of interest, besides his starkly recognizable technical faculties. With this release, Johnson and his trio intermingles lush melodies with sprightly choruses. Yet there's a prevailing sense of movement and excitement that envelops this gorgeously recorded production. The band soars into the red zone on occasion. And it's partly rooted within an underlying sense of structure, augmented by the artists' bustling dialogues. Dynamics abound, even within pieces that are built upon quaint melodies. Count this among the top ten productions for 2004, regardless of any rigidly defined musical classifications.

Triple Marmolium!