[Jandek] Amazing article.
brodskyjonathan at hotmail.com
Sun Nov 15 19:31:14 PST 2009
One of the reasons that Jandek is mentioned in those credits is because it is a matter of public record that the rhythm section for the Rudyard's show was provided by him: however, now that we know that Corwood was, for at least some albums, mixing and mastering, one must now take into account these additional costs that Sterling Smith has poured into this most eclectic but truly unprofitable venture.
That being said, here's (http://music.rice.edu/facultybios/bradley.shtml) a page on him with an email address. I'm sure that his affiliation with Corwood is quite informal as it is, but I'd be curious (though I won't do it myself) to contact him with some questions about what records he was involved in and if he had any roles in terms of some elements of production: I'd be curious if the Rep ever tracked at anything resembling a pro facility.
Date: Sun, 15 Nov 2009 17:22:45 +0000
Subject: Re: [Jandek] Amazing article.
From: lars.spurious at gmail.com
To: jandek at mylist.net
Amazing post. Look at the list of people Andy Bradley (mentioned in the conversation) has worked with:
Past recording credits include: Little Joe y La Familia Renunsacion (1985), Arnett Cobb/Dizzy Gillespie Showtime (1988), Tab Benoit, Nice and Warm (1990), Elsa Garcia Ni Mas Ni Menos (2005), Johnny Bush Kashmere Gardens Mud (2007) and the upcoming Nelson, Ray Price, Johnny Bush collaboration, Young at Heart. Other notable clients include saxophonist Grady Gaines, German conductor Christoph Eschenbach of The Houston Symphony, blues trumpeter and former B.B. King bandleader Calvin Owens, Italian mezzo-soprano opera singer Cecilia Bartoli, violin virtuoso Itzhak Perlman, American soprano Renée Fleming, gospel singer Cynthia Clawson and avant-garde folk artist Jandek.
Quite an eclectic guy.
On Sat, Nov 14, 2009 at 2:02 AM, Jonathan Brodsky <brodskyjonathan at hotmail.com> wrote:
Found this while web surfing.
The idea of our (presumably) deeply religious and mostly reserved hero saying 'fuck the world' is more than enough to fill me with glee. I feel like this is one of the bigger glimpses (everyone's individual personal correspondence aside) that we get into the mindset of what Sterling does... it's interesting to apply a philosophical bent to the relative ineptitude of the musicial proceedings. Plus, now we know that at least some some of these albums were/are mixed and mastered at a proper facility... i.e., someone had to make these things sound 'good'. Oh, boy. I love this stuff, but can you imagine being that engineer back in 1978? 'Hey, my name's Sterling. Here's my record for mastering, I think I have a good thing going with it... do you think pressing 1,000 copies will be enough?'
Food for thought.
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