Building a Survey of Jazz: A Brief Summary of the Larger Jazz-Related Collections in My Library

I have a decent starter-collection of jazz vinyl, focusing primarily on Miles Davis’ catalog including the 6LP Miles at the Fillmore box set, as well as a selection of the better quality big band box sets on wax. But I’ve been working on building the digital portion of my jazz collection, the larger box sets of which total 1,626 albums. These highlights help me add a sense of order to the 22,000 jazz recordings in my digital library.

To date, my focus has been on essential classics, vocal jazz standards, the crooners, tin pan alley, jazz pop (1920-1960), highlights of avant-garde jazz, the big bands, swing, a bit of ECM, future jazz (in the electronic realm), film noir scores, gypsy jazz / jazz manouche, and their related subgenres. I’ve been in the mood to explore The Great American Songbook, (jazz vocal standards by Irving Berlin, George Gershwin, Ellington, etc), so I started doing some research.

I’m no jazz expert, but some preliminary Google searches, list-generators, and review surveys provided me with sufficient information to begin building a respectable personal library. One intriguing release offered for sale on Toronto’s JazzFM website was an astonishingly large 500 CD box set called, The World’s Greatest Jazz Collection. Of course, due to licensing restrictions, the set lacks some of the classic milestone recordings which come to mind when such a title is raised, but the sound quality and sheer volume of the collection warranted its addition to my library.

The 500-CD World’s Greatest Jazz Collection comprises five 100-disc sub sets:

100-CD Bebop Story box set

100-CD The Big Bands box set

100-CD Classic Jazz box set

100-CD Modern Jazz box set

100-CD Swing Time box set

Next I tackled building discographic archives of key figures in the history of classic and modern jazz. Larger jazz artist discographies in my archive include but are not limited to the following:

156-CD Thelonious Monk discography

135-CD Keith Jarrett discography

100-CD RateYourMusic.com’s Top 100 Future Jazz LPs

98-CD Miles Davis discography

78-CD Jimmy Smith discography

75-CD Sun Ra discography

61-CD Ornette Coleman discography

52-CD Art Blakey & The Jazz Messengers discography

43-CD Herbie Hancock discography

43-CD Jimmy McGriff discography

40-CD Duke Ellington discography

35-CD Charles Mingus discography

30-CD John Coltrane discography

22-CD Dave Brubeck discography

16-CD Future Sounds of Jazz box set

as well as the 16-CD Diana Krall discography. (My late father was a fan and sparked my interest in her catalog when I was starting college.)

And as I’ve discussed in former features, I worked hard to build analog and digital archives of the finest big band collections ever issued to the public. Some of these were exclusively available from mail order subscription services on vinyl and later on compact disc, but thankfully, archivists around the world have painstakingly digitized the vinyl-exclusive volumes and produced complete digital libraries of these sets at professional archival quality.

In my Big Band Archive I have:

30-LP box set of Time Life: The Big Bands

27-CD Ken Burns Jazz Series and Jazz: The Story of America’s Music (22-CD + 5CD)

11-LP box set of The Great Band Era

10-volume Benny Goodman Collection

7-volume The Big Bands box set

4-CD Smithsonian Big Band Jazz archive

2-disc Glenn Miller Gold Collection

1-CD The Glenn Miller Orchestra Collection

Other smaller and more precisely-focused jazz collections in my library include:

8 CDs from the Jazz Moods series 

6 of the essential albums by The Bill Evans Trio

6-CD Gypsy Jazz / Jazz Manouche box set

5-CD 100 Hits American Songbook box set which includes one hundred standards recorded by Frank Sinatra, Ella Fitzgerald, Tony Bennett, Billie Holiday, Nat King Cole, Shirley Bassey, Sammy Davis Jr, and more.

5-CD Film Noir jazz series collection

3-CD Complete Recordings of Ella Fitzgerald and Louis Armstrong 

and the single-disc Complete Recordings of Duke Ellington and Louis Armstrong

My collection is leagues away from exhaustive or complete in the vast scope of the world of jazz – an insurmountable task for certain, but I’ve done my best to construct a modest library showcasing the key subgenres I enjoy most. These will provide me with years of listening enjoyment on lazy Sundays and on my afternoon drives queued up in the car from my personal media server.

In an effort to determine the best recordings to sample first, I began compiling various “best-of” lists. Rateyourmusic user erikfish found 22 “top jazz albums of all time” lists in books, magazines and web sites and combined them into one meta-list here. And TheJazzResource.com compiled a similar list of the Top 25 Jazz Albums of All Time. Spinditty published a feature on Ten Coltrane Albums Every Jazz Fan Should Own and NPR put together a similar roster called The Cocktail Party Guide To John Coltrane. I also assembled some of my own lists including Modal Jazz Essentials, Recordings of the First Great Quintet (Davis and Trane in ‘56), as well as 17 Essential Hard Bop Recordings courtesy of critic Scott Yanow and a Top Ten Essentials list of Thelonious Monk LPs.

I would love to hear your recommendations for your favorite titles from the collections mentioned above which deserve priority listening, or your suggestions for other collections which would complement my current library. If I’ve any glaring omissions, please let me know! I’m always eager to learn.

Internet Archive Lawsuit May Have Dire Implications for Lenders and Borrowers Alike: Redefining “Ownership” in the Age of Subscription Services

Open Library

In case the story has escaped your personal social media feed or news aggregator, there is a lawsuit unfolding before our eyes which is unprecedented in the history of librarianship. It has the potential to affect all of us, from students to educators to anyone who supports Article I, Section 8, Clause 8, of the United States Constitution which grants the enumerated power “To promote the progress of science and useful arts” and what it means to “own a book.”

Maria Bustillos of The Nation published a startling summary of the Archive.org Open Library lawsuit and what it may mean for libraries and borrowers in the future. Several other major news sites have reported about the suit, the trial of which is set for next year in federal court, and initial disclosures for discovery are already under way. I’ll quote from this particular article liberally as it most effectively and contextually frames the significance of the lawsuit and its potential impact better than any other write-up I’ve read to date.

Bustillos begins by framing the circumstances which led to the founding of the National Emergency Library at the onset of the global pandemic.

When Covid-19 struck, hundreds of millions of students were suddenly stranded at home without access to teachers or libraries. UNESCO reported that in April, 90 percent of the world’s enrolled students had been adversely affected by the pandemic. In response, the Internet Archive’s Open Library announced the National Emergency Library, a temporary program suspending limits on the number of patrons who could borrow its digital books simultaneously. The Open Library lends at no charge about 4 million digital books, 2.5 million of which are in the public domain, and 1.4 million of which may be under copyright and subject to lending restrictions. (This is roughly equivalent to a medium-sized city library; the New York Public Library, by comparison, holds 21.9 million books and printed materials and 1.78 million e-books

Brewster Kahle, the Internet Archive’s founder and digital librarian, wrote in March that the National Emergency Library would ensure “that students will have access to assigned readings and library materials…for the remainder of the US academic calendar.” He acknowledged that authors and publishers would also be harmed by the pandemic, urged those in a position to buy books to do so, and offered authors a form for removing their own books from the program, if they chose.

More than 100 libraries, archives, and other institutions signed on to a statement of support for the program, including MIT, Penn State, Emory University, the Boston Public Library, Middlebury College, Amherst College, George Washington University, the Claremont Colleges Library, and the Greater Western Library Alliance.

…Harvard history professor and author Jill Lepore joined many media observers in praising the National Emergency Library as “a gift to readers everywhere.”

Next she outlined the terms of the suit and the responsive actions which followed:

On June 1, Whitehead’s publisher, Penguin Random House, together with fellow megapublishers Hachette, HarperCollins, and Wiley, filed a lawsuit against the Internet Archive alleging “mass copyright infringement.” The Internet Archive closed the National Emergency Library on June 16, citing the lawsuit and calling for the publishers to stand down. But the plaintiffs are continuing to press their claims, and are now seeking to close the whole Open Library permanently.

what’s really at stake in this lawsuit is the idea of ownership itself—what it means not only for a library but for anyone to own a book.

Her insights on the indispensability of the Internet Archive follow, demonstrating how critical it is to preserve this organization:

The Internet Archive is far more than the Open Library; it’s a nonprofit institution that has become a cornerstone of archival activity throughout the world. Brewster Kahle is an Internet pioneer who was writing about the importance of preserving the digital commons in 1996. He built the Wayback Machine, without which an incalculable amount of the early Web would have been lost for good. The Internet Archive has performed pioneering work in developing public search tools for its own vast collections, such as the television news archive, which researchers and journalists like me use on an almost daily basis in order to contextualize and interpret political reporting. These resources are unique and irreplaceable.

The Internet Archive is a tech partner to hundreds of libraries, including the Library of Congress, for whom it develops techniques for the stewardship of digital content. It helps them build their own Web-based collections with tools such as Archive-It, which is currently used by more than 600 organizations including universities, museums, and government agencies, as well as libraries, to create their own searchable public archives. The Internet Archive repairs broken links on Wikipedia—by the million. It has collected thousands of early computer games, and developed online emulators so they can be played on modern computers. It hosts collections of live music performances, 78s and cylinder recordings, radio shows, films and video.

Equally importantly, Bustillos draws the parallels between traditional and modern digital libraries like the Open Library:

Like a traditional library, the Internet Archive buys or accepts donations of physical books. The archive scans its physical books, making one digital copy available for each physical book it owns. The digitized copies are then loaned out for a limited period, like a traditional library loan. The physical books from which the scans were made are stored and do not circulate, a practice known as “own-to-loan.”

Harvard copyright scholar and lawyer Kyle Courtney has explained this reasoning very clearly. “Libraries do not need permission or a license to loan those books that they have purchased or acquired,” he said at a recent conference. “Copyright law covers those exact issues.… Congress actually placed all of these specialized copyright exemptions for libraries in the Copyright Act itself.”

And it is next that Bustillos expresses the most fundamental concern regarding the suit, and the dangerous implications that it may bear upon the lending market in the future. There is an undeniably growing global trend of media consumers retiring analog media in exchange for cloud-based access to their digital counterparts. But this trade-off comes at an alarming cost.

Physical media libraries continue to diminish as a younger generation is ushered into a subscription-service-based way of life. Music collections are being replaced with Spotify accounts. Video game consoles are being released with no physical disc drives and instead offer digital downloads which have no value should a gamer decide that they wish to explore other systems. DVD collections are becoming less common as viewers opt to curate their “collections” on services like Netflix. And software packages are no longer purchased once physically and owned thereafter – users are instead forced to pay a monthly subscription fee for continued access. 

Could we see the same thing happen with digital books? As a lifelong cataloger and curator, I can’t imagine relinquishing my physical libraries and chaining myself to a perpetual monthly slow-bleed of non-ownership. So much of my identity is embodied in my curation. But if publishers have their way with the lending market and related legislation, we may be forced into just such a reality.

Bustillos explains:

Publishers approve of libraries paying for e-book licenses because they’re temporary, just like your right to watch a movie on Netflix is temporary and can evaporate at any moment. In the same way, publishers would like to see libraries obliged to license, not to own, books—that is, continue to pay for the same book again and again. That’s what this lawsuit is really about. It’s impossible to avoid the conclusion that publishers took advantage of the pandemic to achieve what they had not been able to achieve previously: to turn the library system into a “reading as a service” operation from which they can squeeze profits forever.

The Internet is 31 years old, and in those three short decades the virtual world we’ve come to depend on has slowly eroded the idea of private ownership—literally, your right to call your belongings your own. Things you used to buy just once, such as your own private copies of software like Photoshop or Word, your privately owned vinyl discs and CDs, or movies on VHS—have increasingly begun to come through dispensing services you pay for every month, from vendors like Adobe, Netflix, Hulu, and Spotify. And you’ll never stop paying.

“Libraries buy, preserve, and lend,” he said. “That’s been the model forever. [Libraries] actually supply about 20 percent of the revenue to the publishing industry. But if they cannot buy, preserve, and lend—if all they become is a redistributor, a Netflix for books—my God, we have a society that can get really out of control. Because if a publisher maintains control over every reading event, who’s allowed to read it, when are they allowed to read it, if they’re allowed to read it, and be able to prevent anybody, or particular regions, from being able to see something, we are in George Orwell world.

Another journalist, Mike Masnick of Techdirt was equally impassioned and emphatic about the erroneousness and fallaciousness of this lawsuit.

For many years, we’ve said that if the public library were invented today, the book publishers would sue it out of existence. It appears that the big book publishers have decided to prove me right, as they have decided to sue the Internet Archive for lending ebooks without a license.

While many publishers and authors declared this to be “piracy,” that did not square with reality. The Internet Archive was relying on a variety of precedents regarding the legality of libraries scanning books and lending books, as well as around fair use, to argue that what it was doing was perfectly legal. Indeed, the deeper you looked at the issue, the more it looked like the publishers and authors were upset with the Internet Archive for being a library, since libraries don’t need special licenses to lend out books.

Except the identical argument applies to public libraries lending physical copies as well. It does not “grossly exceed legitimate library services.” It makes books it has in its possession available for borrowing. Just like a library. Yes, the books are digitized, but libraries also distribute exact copies of books in their entirety for reading purposes to the public for free. Including voluminous numbers of books that are currently commercially available.

That’s a LIBRARY.

Masnick reiterates this theme of how the Open Library is precisely that throughout his article. He explains:

Books have long been essential to our society. Fiction and non-fiction alike, they transport us to new worlds, broaden our horizons, provide us with perspective, reflect the evergrowing knowledge of humanity in every field, spark our imaginations and deepen our understanding of the world. Yet, books are not self-generating. They are the product of training and study, talent and grit, perseverance and creativity, investment and risk, and untold hours of work.

That’s right: and for tons of people they way they read those books is from a library.

The publishers have been chipping away at “libraries” for years. Before ebooks, libraries could buy books and lend them out. They didn’t need a special license. However, in recent years, publishers have rushed into the opportunity created by ebooks to change that, and to require licenses (crazy, expensive licenses) for ebooks. Just last fall we noted how publishing giant Macmillan (which, somewhat oddly, is the one big publishing house that is not a plaintiff) had gone to war with libraries, using its extreme ebook pricing and licensing terms to basically kill the market for ebook library lending.

But also looking over that list, I see a bunch of books that I know are read in schools — meaning that these publishing houses likely have just screwed over a bunch of teachers and students, many of whom already have physical copies of books, but find them inaccessible for the kids to read while we all still remain under lockdown.

So much for those books being “essential to our society.”

He closes his write-up emphasizing:

…there are very real concerns that this fight could bankrupt the entire Internet Archive.

I do wonder if the authors who spoke out against this really want to shut down such an important institution just so they can sell a couple more books.

I suspect he is quite right, indeed.

Masnick provides numerous links to sources corroborating each of his points, but for a balanced perspective, I also made sure to search for articles challenging the claims made by these writers in an effort to counter their arguments. I could only find one opposing document, penned by Aja Romano, an Internet Culture Reporter for Vox.com. Romano rebukes reporters for the sense of urgency expressed by those wary of the lawsuit’s implications and says the suit is “not as dire as you may have heard.”  

Romano does give credit to The Internet Archive for its achievements, noting that the Wayback Machine comprises a digital collection of roughly 390 billion pages dating back to 1996 – a 10-petabyte collection and the deepest archive of internet history in existence. But she states that “the reporting surrounding [the lawsuit] was hyperbolic and alarmist.” 

Regarding the impact of the suit on the sustainability of The Internet Archive, Romano notes the following:

If the court awards the plaintiffs the maximum amount provided under the law, the most the Internet Archive would have to pay would be $19 million — essentially equivalent to one year of operating revenue, according to IA tax documents. That’s a huge setback, but for the IA, a tech nonprofit that relies heavily on grants and public donations, it’s not the major death blow it might seem to be.

Even if that is the case, Romano fails to address the suggested implications that such a ruling could potentially have on the market as a whole.

So what do you think? Does the Open Library lawsuit set a precedent for all lenders which could potentially transform the library system into a subscription-based “reading as a service” operation? And might these extreme ebook pricing and licensing terms kill the market for ebook library lending altogether?

Hold onto your books, everyone.

Brian Eno Collection Milestone

Today I’ve proudly reached a milestone with my Brian Eno collection. In addition to the dozens of art prints, books, lithographs, 85 digital releases, and other miscellanea I’ve acquired, I’ve now successfully built a sizable library of most major releases issued in the vinyl format by the artist. 

While there are still a number of bootlegs and collaborative efforts, as well as titles from Eno’s catalog originally issued in the 90s now being released for the first time on vinyl, my library comprises 40 of his best-loved works totaling 64 discs of content, including the highly sought-after Music For Installations 9LP limited edition box set.

This feature will showcase the most noteworthy elements of my collection to date. I’ll begin with the LPs, themselves. It was quite a challenge to photograph 40 12” multi-disc releases all in one shot, particularly without photographer’s lamps and other equipment, but I’ve done my best using the trusty digital SLR I received from my family when I first started art college twenty-two years ago.

Here are the LPs:

01 Brian Eno Collage LP Vinyl Collection sm for web

Next, for some art, here is the “Electric Love Blueprint – A History of Electronic Music” theremin schematic created by the Dorothy design collective. The infographic “celebrates over 200 inventors, innovators, artists, composers and musicians who (in our opinion) have been pivotal to the evolution of electronic music, from the invention of the earliest known sound recording device in 1857 to the present day.” Of course, Brian Eno’s name appears typeset in the largest point size of any pioneer cited among the layout.

The 60 x 80 cm art print is printed with metallic silver ink on 120gsm Keaykolour Royal Blue uncoated stock. It was gifted to me by a dear friend and hangs proudly in my listening room.

Next is a limited edition oversized promotional art print for Eno’s 77 Million Paintings exhibition at Moogfest in 2011.

And just for fun, I had a t-shirt printed up with the art from one of the most influential early Eno solo albums, Before and After Science.

I also made sure to track down an original UK pressing of that very album specifically for the large lithographs exclusive to that edition painted by Peter Schmidt. I had the lithographs professionally framed for my dining room.

I also secured both original and remastered pressings of Apollo: Atmospheres & Soundtracks. The Extended Edition includes the For All Mankind bonus LP and I was among the first 250 to order which got me a handsome 42cm x 59cm poster of the Apollo cover artwork which I had framed as well.

I was similarly inspired by Eno’s pioneering ambient effort, Music For Airports, so I prepared a framed print of the sheet music of the album’s score.

Then there is the DVD collecting Eno’s experiments with film, Thursday Afternoon (1984) and Mistaken Memories of Mediaeval Manhattan (1981)

I’ve previously shared my excitement when I learned that Eno had collaborated with one of my other musical heroes, Karl Hyde of Underworld. I framed the pair of postcards included with their two album releases.

There was also an art print included with original pressings of Eno and Hyde’s first collaboration, Someday World, which I’ve framed in my listening room.

And while working as a designer, I independently produced a 24” x 24” oversized PVC-mounted vinyl print of a graphic I designed mapping a chronology of all of Eno’s creative works both as an artist and as a producer. Here is a web-friendly downscaled copy of the artwork with a magnified sample of an area of text.

Of course, what Eno collection would be complete without an edition of the Oblique Strategies oracle deck? 

And finally, here is my library of thirteen books examining the mind and the art of Brian Eno. It was great fun compiling them all, including a copy of Eno’s own diary, A Year With Swollen Appendices.

That is the collection to date. I know that it is far from complete. My research reveals an additional 14 vinyl releases far more rare than anything I have and nearly 2,600 releases with Eno named in the credits, but I made sure to collect all of the titles which were of great significance to me, personally. 

Thank you for permitting me to share my love for great music. Eno and his work are an unparalleled inspiration in my life.

The KLF Collection: 2020 Update

Just a quick check-in today. I’m grateful to have received an incredible gift this weekend of several UK import KLF and related singles from a wonderfully generous friend who was thinning out their personal record collection. He knew that no one in the city would appreciate them more than I. With the new titles added, it seemed fitting to take an updated photograph of the collection to date. Here’s what I have so far, including Drummond’s Silent Protest deck of cards, (the tiny black item toward the lower right), a rare first-edition of The Manual, the Stadium House Trilogy VHS, and several titles from the exquisite Recovered & Remastered series, (highly recommended!)

My KLF collection now comprises 45 physical LPs, CDs, books, and other ephemera. The digital portion of my KLF library includes 164 albums, EPs, and other releases totaling over 109 hours of music and 93 films clocking in at 19 hours of rare video footage and interviews.

I understand that there are collectors with far larger KLF libraries, but I’m pleased with what I’ve built so far. Special thanks to my very generous friend! 

KLF Collection Updated 07-05-2020 sm

40 Years of Underworld – The Innerspace Collection

Anyone who knows me knows that I’m a tremendous fan of the electronic duo Underworld.

At age 15, their album Dubnobasswithmyheadman was my very first exposure to the world beyond Top 40 radio pop, and its award-winning typographical packaging created by the band’s critically acclaimed Tomato design collective directly inspired my pursuit of a design degree and an 18-year career in the field.

Checking my latest stats, my Underworld collection now comprises 77 physical releases and artifacts, memorabilia, subway posters, books, prints, magazine articles, DVDs, VHS tapes, etc, as well as over 600 digital albums, EPs, mixes, concerts, and other materials – over 8100 tracks including concert videos. With new material being released every week, they’re showing no sign of slowing down, and they continue to expand my scope of musical appreciation with each new release.

Here is the physical portion of my collection to date. (For scale, the green print at the center is a subway poster from the UK measuring five feet in height.)

Underworld Physical Collection Complete 02-22-2020

Below is an itemized inventory of the physical collection. The 8100-track digital library is too large to post here but is itemized in the Innerspace Labs Workbook previously published in this journal.

Artist Title Format
Screen Gemz Teenage Teenage b/w I Just Can’t Stand Cars 7″ single (sleeve reproduction) 7″, Single
Freur Matters Of The Heart 7″
Freur Get Us Out Of Here LP, Album
Freur Look In The Back For Answers 12″
Freur Doot Doot CD
Freur Doot-Doot 7″, Pic
Freur Doot-Doot 12″
Freur Doot-Doot 12″
Freur Runaway (Dun Difrunt) 12″
Freur Doot-Doot LP, Album
Underworld Going Overground Melody Maker Magazine January 22, 1994 Magazine
Underworld Barbara Barbara, We Face a Shining Future LP, Album
Underworld Spikee / Dogman Go Woof 12″, Single
Underworld Beaucoup Fish 2xLP, Album
Underworld A Hundred Days Off 2xLP, Album
Underworld A Hundred Days Off 2xLP, Album
Underworld Born Slippy 12″, Single
Underworld Dark & Long 12″, RE
Underworld Two Months Off 12″
Underworld Second Toughest In The Infants 2xLP, Album
Underworld Rez / Cowgirl 12″
Underworld Stand Up 12″, Maxi
Underworld Glory! Glory! 12″, Single
Underworld Underneath The Radar Cassette
Underworld Underneath The Radar 7″, Single
Underworld Change The Weather LP, Album
Underworld Long Slow Slippy / Eventually But 12″, Ltd, S/Edition
Underworld Barking 2xLP, Album
Underworld Dubnobasswithmyheadman 5CD Box Set
Underworld Underneath The Radar LP, Album
Underworld Underneath The Radar LP, Album
Underworld Cowgirl / Rez 12″, Ltd, Whi
Underworld Pearl’s Girl 12″
Underworld Jumbo 12″, Single
Darren Emerson Global Underground 020: Singapore 2CD
Darren Emerson & Tim Deluxe Underwater, Episode 1 2CD
Underworld Videos 1993-97 Footwear Repairs By Craftsmen At Competitive Prices VHS
Underworld tomato: onyx pearls DVD
Underworld Underworld Live – Everything Everything DVD
Underworld Barking (Super Deluxe Edition 2CD+DVD+book+autographed print) 2CD+DVD Box Set
Underworld 1992-2002 2CD
Underworld Born Slippy CD
Underworld Change the Weather CD
Underworld Dinosaur Adventure 3D (US) CD
Underworld Dinosaur Adventure 3D (JAPAN) CD
Underworld Dubnobasswithmyheadman CD
Underworld A Hundred Days Off CD
Underworld King of Snake CD
Underworld Pearl’s Girl CD
Underworld Second Toughest in the Infants CD
Underworld Underneath the Radar CD
Underworld Underworld Singles Box Set 3CD Box Set
Underworld Limited Edition Barking Art Print (Hand numbered #64/650) Art Print
Underworld Dubnobasswithmyheadman A2 sized Promo Poster Poster
Underworld Dubnobasswithmyheadman Concert Tour Memorabilia Keyring Keyring
Underworld Dubnobasswithmyheadman T-Shirt (unofficial) T-Shirt
Underworld Dubnobasswithmyheadman Coffee Mug (unofficial) Coffee Mug
Underworld Dubnoboasswithmyheadman Custom Chromebook Skin and Keyboard Inlay Laptop Skin (Custom)
Underworld Everything Everything 150cm x 100cm UK Subway Poster Poster
Underworld Underworld Press Photo Photo
Underworld Rowla/Juanita 12″
Underworld Oblivion With Bells 2xLP, Album
Underworld Dubnobasswithmyheadman 2LP, Album
Underworld Second Toughest in the Infants Remastered Super Deluxe Edition 4CD Box Set
Underworld Beaucoup Fish Remastered Super Deluxe Edition 4CD Box Set
Underworld and Iggy Pop Teatime Dub Encounters LP, EP, Limited Edition, Clear
Underworld Drift Series 1 7CD+Blu-Ray DVD Box Set
Tomato mmm.. skyscraper i love you: A Typographical Journal of New York Art Book
Tomato Process: A Tomato Project Art Book
Eno • Hyde Someday World 2xLP, Album, S/Edition
Eno • Hyde Someday World 2xLP, Album, S/Edition
Eno • Hyde High Life 2xLP, Album
Eno • Hyde Someday World 12″ x 12″ Art Print Art Print
Eno • Hyde Brian Eno and Karl Hyde with Flowers in Vase Against White Background Postcard Postcard
Eno • Hyde Brian Eno and Karl Hyde on Stage Before a Concert Postcard
Karl Hyde Edgeland 2xLP, Album, 180
Karl Hyde Personal Live Photograph Photograph

Supplemental Note:

Following the acquisition of the final four Underworld multi-disc super-deluxe box sets for my archival project, I found that my collection had outgrown its space in my record room and I wanted a storage solution which would blend seamlessly with my vintage decor. I took careful measurements and trekked to my city’s antique mall and found a large antique wooden crate the exact dimensions (to the very inch!) that I was hoping to find.

It’s a perfect vintage solution to house my collection of nearly eighty Underworld releases! The sturdy wooden crate features weathered stamping for 120lbs of (Ben) Franklin brand sugar. Here it is in my home, fitted appropriately beneath a framed promotional print of my favorite album by the duo.

Ben Franklin Wooden Crate with Underworld Collection Inside 02-22-2020

Enography: The Collected Writings of (and about) Brian Eno

I’ve been reading texts on artist, producer, and self-proclaimed “non-musician” Brian Eno for years, and thought it might be a good idea to start tracking all of the books examining his work in my library. I extracted a list of all Eno-related texts from moredarkthanshark.org and added a few other rare titles from my own archive. Referencing data from my Goodreads account I built a spreadsheet to catalog which texts I’ve read, which I have in physical form, as well as the ones I have as ebooks. I then used an aggregate book search engine to secure physical copies of most of the texts I was missing to build as complete a library as I was able. There are three titles I’ve yet to claim, but they command higher prices than I was ready to import to the States for this first stage of the project.

Pictured below are thirteen of my favorite titles on the subjects of Eno’s work, and ambient and generative music in general. There was a week delay in the project after book #13 was lost in the post and I had to order another copy, but at last I have them all.

I was particularly excited to secure a copy of Sound Unbound published by MIT Press, which compiles essays on sample/mashup/remix culture collected by Paul D. Miller (aka DJ Spooky), and which features a Forward by Cory Doctorow, my favorite essayist on the subjects of digital rights activism and copyleftism. And like the Moondog book I recently ordered, it is packaged with a companion compact disc of the works discussed.

Pictured are the following:

Brian Eno’s Ambient 1: Music for Airports by John T. Lysaker
Audio Culture: Readings in Modern Music by Christoph Cox
Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds by David Toop
A Year With Swollen Appendices by Brian Eno
Experimental Music: Cage and Beyond by Michael Nyman
Brian Eno: His Music And The Vertical Color Of Sound by Eric Tamm
The Ambient Century by Mark Prendergast
Sound Unbound: Sampling Digital Music and Culture by Paul D. Miller
On Some Faraway Beach: The Life And Times Of Brian Eno by David Sheppard
Another Green World (33 1/3 Series) by Geeta Dayal
Brian Eno: Visual Music by Christopher Scoates
Brian Eno: Oblique Music by Sean Albiez
Music For Installations (companion book to the ltd ed. 2018 9LP vinyl box set) by Brian Eno

as well as the official Oblique Strategies deck Eno produced with artist, Peter Schmidt.

Also read but not pictured: 

Music Beyond Airports – Appraising Ambient Music by Monty Adkins

I really look forward to diving into the yet-unread titles from this indispensable collection. These books will be wonderful company through the chills of winter and shall serve as an intellectually stimulating start to 2020!

02 Brian Eno Book Collection (sm for web)

Innerspace Labs’ Year-End Large Library Catalog

With Thanksgiving off from work and the whole day to myself it felt like the perfect opportunity to run some metrics on my archive to provide me with some valuable insight as to the development of my larger libraries just in time to close out the year. 

And it couldn’t have come a more fitting time, as I’ve been filled with inspiration and have been actively expanding my archive thanks to the magnificent ambient soundscapes showcased on the syndicated radio program, Hearts of Space

I maintain a complete broadcast archive of every transmission of the program since 1983 – over 1200 hours of ambient space music. These tone poems accompany me for eight hours every day at the office, and all through the night as I sleep. (For someone as hyperproductive as I am, this music is a godsend as it helps to quiet my overactive mind.)

Captivated by these contemporary instrumental works, I’ve spent the last few months compiling complete discographic archives of the artists featured on the program, many of whom have over one hundred albums in their respective catalogs spanning the history of ambient and space music. It’s a labor of love, and infinitely rewarding as I enjoy the company of their music all throughout my waking and restful hours.

I had previously compiled a digital archive of all official and unofficial Tangerine Dream releases, including the Tangerine Tree live recording archive totaling 298 discs of electronic ambient music. 

Soon thereafter I assembled a complete discography of the 45 releases by modern classical composer Harold Budd. I’ve loved his soft-pedal technique ever since I first heard his collaborations with Brian Eno.

Inspired by the Hearts of Space program I continued this effort by building a lossless library of the 72 releases by veteran ambient composer, Robert Rich. Rich has been featured on 84 transmissions of Hearts of Space and is a staple figure of the genre.

From there I built an archive of the 161-album catalog of his collaborator and Hearts of Space favorite artist, Steve Roach. Roach’s recordings are informed by his impressions of environment, perception, flow, and space and are considered to be highly influential in the genre of new age music.

Next I compiled a complete 100-album discography of the late master of Tibetan singing bowls, Klaus Wiese. Wiese played tamboura on Popol Vuh’s classic Hosianna Mantra and Seligpreisung LPs and is considered by some as one of the great ambient and space music artists.

I then secured a 149-disc library of the German dark ambient / drone ambient musician, Mathias Grassow. His Wikipedia entry notes that “[his] music often has a meditative and emotional and spiritual context, which induces deep feelings of introspection in listeners.”

I did the very same for the Berlin minimalist composer Andrea Porcu, who performs under the moniker Music For Sleep, and for UK experimental artist 36 (a project of Dennis Huddleston), and for other prominent figures of the genre. 

These explorations directly resulted in a number of physical media investments like the Hearts of Space first transmission LP limited to 500 copies worldwide, Robert Rich’s Premonitions 4LP box set (also limited to 500 copies), and the limited edition Nighthawks / Translucence / Drift Music autographed vinyl box set comprising the complete collaborations of Harold Budd and John Foxx.

I last published a feature on my playlist projects five years ago so it seemed like a good idea to recalculate the number of albums and total runtimes for the artists and record labels representing the largest segments of my library as a means of both organizing large sets of data and to serve as a reminder of catalogs I still need to explore in full. And while the former project from 2015 included large-scale genre maps I thought that this time it would be more productive to focus on specific artists, producers, and record labels specializing in a particular sound to highlight large libraries in my archive.

So that tabulation is consistent and equally weighted across various collections, I’ve calculated totals based on the total number of discs, so that a 30-disc box set weighs accurately against a single-disc release.

I factored collections of greater than 20 albums as being eligible large libraries. I was going to render a set of graphs of the results as I did with large playlists in 2015, but given the sheer number of eligible sets I felt that the data is most clearly expressed in a basic table. This list of approximately one hundred artists accounts for roughly 1% of the artists in my library, but over 75% of the total albums cataloged.

Here are the results, organized from largest to smallest libraries. I’ll divide the results into three categorical sets – first complete artist / record label discographies, followed by libraries of old time radio broadcasts, and close with box sets of audiobooks.

Here are the discographies:

Largest Discographic Archives by Artist / Record Label:# of Discs
Hearts of Space Radio Broadcast Archive1232
The Progressive-Kraut-Psych-Avant garde Rock Collection (Vols I-VIII)753
Underworld600
The World’s Greatest Jazz Collection500
Psybient DVD Packs Map317
Tangerine Dream and Tangerine Tree Live Archive298
Big Band Music Digital Archive259
FAX +49-69450464 Catalog (Pete Namlook)254
The KLF / Kopyright Liberation Front / JAMS / Justified Ancients of Mu Mu / The Timelords189
Steve Roach161
Ninja Tune Records154
Mathais Grassow149
Future Sounds of London & Amorphous Androgynous141
Lemon Jelly137
Keith Jarrett135
Max & Dima: Sapovnela Studio Sessions131
Throbbing Gristle131
111 Years of Deutsche Grammophon111
Miles Davis109
Daft Punk104
Brian Peter George St. John le Baptiste de la Salle Eno100
Flea Market Funk: Funky Soul & Rare Groove100
Frank Zappa and the Mothers of Invention100
Hit the Brakes DJ Series100
Klaus Wiese100
RYM Top 100 Downtempo / Trip Hop LPs100
Sigur Ros100
Nurse With Wound99
Franz Liszt97
Thelonious Sphere Monk97
Good Looking Records: Archive of LTJ Bukem’s Intelligent D’n’B Label94
Deuter89
Franklin Mint’s 100 Greatest Recordings of all Time88
Vangelis87
Richard D. James / Aphex Twin86
Karlheinz Stockhausen86
Jimmy Smith85
Klaus Schulze81
Ravi Shankar81
Ludwig Van Beethoven80
Sun Ra and the Arkestra74
John Cage73
2manyDJS / Radio Soulwax72
Robert Rich72
They Might Be Giants72
Café del Mar71
Peter Gabriel68
Philip Glass68
Ornette Coleman66
Mike Oldfield65
Muslimgauze63
Tom Waits63
The Orb63
Art Blakey and the Jazz Messengers62
Spacemind Psybient Mix Series62
Cornelius60
Attention K-Mart Shoppers: K-Mart Corporate Muzak (1973-1992)58
DJ Food & Solid Steel Radio Sets58
Porcupine Tree58
Parliament / Funkadelic57
Ambient Music Guide Podcast (2015-2019) by Mike G55
Cocteau Twins52
Herbie Hancock52
Ash Ra Tempel / Manuel Göttsching50
Early Experimental Electronic Music (1940-1976)50
Bill Laswell49
Early Moog & Synthesizer Library48
Jimmy McGriff48
Harold Budd45
Ryuichi Sakamoto44
Duke Ellington42
Bob Marley & The Wailers40
Captain Beefheart40
DJ Prestige39
Fela Kuti: The King of Afrobeat39
Enya37
John Fahey36
Fluke35
Low35
Arvo Pärt33
Electronic Supper Club33
Robert Fripp33
Charles Mingus32
Jah Wobble31
Moog Indigo: Classic Albums of Space Age Bachelor Pad Music31
Claude Debussy30
John Coltrane30
The Flaming Lips30
Chant Ambrosien: Sacred Music From the Middle Ages to the 20th Century29
Music For Sleep (Andrea Porcu)29
Kruder & Dorfmeister28
Moondog28
Cabaret Voltaire26
William Basinski26
Son House: Walkin’ Blues (The Complete Recordings)25
Top 25 Psybient Ultimae Records Releases25
Autechre24
36 (Ambient Composer Dennis Huddleston)22
Biosphere21

And the Old Time Radio series:

Old Time Radio:# of Discs
Dragnet298
The Adventures of Superman171
The Goon Show168
X Minus One (1955-1973)122
CBS Radio Mystery Theater: The New Adventures of Sherlock Holmes83
BBC Radio: The Adventures of Sherlock Holmes79
The Shadow (1937-1954)75
The Complete Sherlock Holmes Audiobooks60
Flash Gordon26
Orson Welles Mercury Theater 193820

And Audiobooks:

Audiobooks:# of Discs
Ray Bradbury425
Isaac Asimov348
Douglas Adams268
Sir Arthur Conan Doyle207
Philip K Dick124
HP Lovecraft (Dark Adventure Radio Theatre Complete Programs)17

The next libraries I intend to collect are Conny Plank’s 122-release extended discography, Dieter Moebius’ 65-album map, Hans-Joachim Roedelius’ 115-release catalog, and the 126 releases by Klaus Schulze, Pete Namlook, and Tetsu Inoue.

This new data will prove to be immeasurably useful for my annual reports and as a mental bookmark of large libraries I’ll continue to explore throughout my work days and subliminally while I sleep each night. And I have exciting new listening equipment arriving in the weeks ahead which will further enhance my sonic experience so stay tuned for an exciting feature to kick off the year 2020!

Happy Thanksgiving, everyone.

The Ultimate Index v3.0 – The Innerspace Labs Media Exploration Master Workbook is LIVE!

It’s been a magnificently productive day at Innerspace Labs and we’ve reached what is to date our most prestigious milestone. I published a feature last March about the evolution of my life-long list-making of sound works, cinema, and literature that I’ve been meaning to explore. These lists also served to touch upon some of the special collections in my archive.

In the previous article I described how this process began with leather pocket journals, and as the scale of my library grew I began to publish annual print editions itemizing large collections.

Innerspace Labs Archive Index Books 2013

Innerspace Labs 50 Top Artists Book

These efforts were radically transformed several years ago when I migrated to Google Drive. But as the years passed and spreadsheets and documents multiplied, it rapidly became apparent that I needed to consolidate all of these various lists into a single, deep searchable index otherwise countless lists would be forgotten and disappear into the digital void of my Google Drive.

Thus began the Innerspace Labs Master Workbook project this past spring. Though this venture posed several new dilemmas. As the workbook grew to nearly 200 tabs, I received this error stating that Google Workbooks are limited to 5 million or fewer cells.

Google Error 5 Million Cells Spreadsheet Workbook.png

And it quickly became evident that navigation of all those tabs was painfully arduous in the mobile environment, as was its loading time. Thankfully, after careful research into various potential solutions, I’ve implemented a system of scripts and formula expressions which make navigating this large workbook a snap and its interactive response time nearly instantaneous.

By combining over 200 named ranges, and incorporating a primary dynamic drop-down and a dependent secondary drop-down field, along with an “=INDIRECT(CONCATENATE” expression calling named ranges based on user input, I’m now able to hide and lock all but one master sheet and made the entire workbook navigable from that single homepage.

The home sheet offers the user a primary drop-down of LITERATURE, SOUND, or VIDEO, which in turn controls a secondary dependent drop-down to populate and auto-alphabetize a list of all related content for that category.

I’ve also employed a script which is triggered by Google Clock to rescan the entire workbook for newly-added lists and to automatically incorporate them into the search fields alphabetically and by category as the workbook continues to grow.

I understand that it may not have significant value to anyone other than myself, but it’s intended to serve as a reference document along with the over 200-pages of archive summaries I’ve drafted in a companion Google Doc. With this easy-to-reference Workbook, I can pull up a list in seconds and start exploring. My hope is that the project helps introduce me to some spectacular content and that it helps me rediscover forgotten areas of my library.

The next phase of the project is to apply uniform formatting to all lists, as these were drafted independently over the course of nearly a decade, so I apologize for the crudity of its present format. And of course, there may be errors or omissions among the lists. But you know that I’ll work tirelessly to make this project as accurate and accessible as I can.

Here is a link to a copy of the latest version. It showcases and attempts to organize ~26,000 of the most noteworthy elements of my personal library and related subjects of interest. All cells are locked for editing except the two dynamic drop downs, which is sufficient for general users to explore and interact with the document. It’s far from perfect, but it’s a labor of love that I will continue to work on and which I hope will enrich my life as it continues to expose me to some of the greatest works of the ages.

A Promotion And An Introvert’s Dream

I was recently promoted at work and given the largest desk on the floor which is affectionately referred to as “The Fortress of Solitude” by my team. It’s off by itself with four enclosed walls making it an incredibly quiet and private space which is a dream for an introvert like myself. My supervisor was confident placing me there because he knew I could work independently but would also continue to supervise and interact with new members of the team to assist them as needed.

I wasted no time in making the space my own – a home away from home. I ordered a few antique art pieces, a Persian style rug, I printed custom posters and had them framed, ordered limited edition lithographs, and had a second bronze bust of Beethoven cast to match the one I use in my home office for use as headphone stands in each space.

To ensure that each of the pieces would function well in the space, I took a moment between tasks at work to sketch out a rough template of the work area’s measurements and where I planned to place/hang each artifact. Here’s the (very) rough layout.

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It took a few months for all of the art works to be created, printed, or to ship from their nations of origin, but it’s all come together. The final step was to replace the boring wheeled plastic desk chair with something more my style. Thankfully I scored a vintage red armchair for just $7 at a local garage sale.

Here are a few shots of the results.

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The last item has just arrived and is now handsomely framed on my office wall. This is the limited edition bonus A2 lithograph from Brian Eno’s new Extended Edition of Apollo: Atmospheres and Soundtracks, exclusively shipped to the first 250 persons worldwide to submit their orders upon the announcement of its release last May.

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The print showcases the lunar surface depicted on the original album cover from 1983. The piece is a perfect complement to the official Hearts of Space nebula poster I ordered from the ambient radio program that has been wishing space fans safe journeys for nearly forty years.

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The Beethoven bust turned out fantastic and really adds a refined touch to the space –

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My dual desktop wallpaper is a photo of the century-old chalkware “Nipper” statue and 1911 Monarch gramophone proudly displayed in my dining room in celebration of “His Master’s Voice,” the legacy of RCA, and the history of recorded music, and a small cast iron figure of Nipper sits humbly between the two monitors.

Here’s the actual statue in my home –

Chalkware Century Old Nipper and 1911 Monarch Replica Gramophone 02-12-19 - Close Up Pulled Back a Bit

and the cast iron figure –

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Also on display is my recently-acquired “His Master’s Voice” antique art mirror –

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a portrait of James Joyce, mantel clock, and I found a vintage lamp and shade to complement my burgundy-and-brass theme –

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a collage I assembled of influential figures in the history of experimental music titled, “The Rest Is Noise” –

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DJ Food (Strictly Kev)’s poster of all the releases from the late Pete Namlook’s ambient FAX +49-69/450464 record label –

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an engraved tea chest –

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and a limited edition t-shirt graphic I framed of post-rock legend Godspeed You! Black Emperor’s Faulty Schematics of a Ruined Machine from their majestic F# A# ∞ LP –

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There is also a fun antique style console radio clock –

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and I produced a high-res scan of Brian Eno’s sheet music for his seminal Music for Airports LP and formatted the layout to frame beautifully in a 10×13 frame above my desk.

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And on the far wall behind my desk I’ve framed the Apollo print and a classy 24” x 36” portrait of Miles Davis taken in 1948 in NYC from the Herman Leonard Collection.

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The Persian style area rug finishes off the space nicely, and makes it feel extra cozy.

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It’s a serene work space and really makes me feel at home.

Making My Office At Work Feel Like Home

I’m always excited to embark on little personal projects and this one really made a difference for me. I figured that if I am going to spend 9 hours a day, 5 days a week at the office, I might as well make it feel like home.

I’ve just won an auction and received an antique art mirror of Francis Barraud’s “His Master’s Voice” with ornamental engraving to add a touch of class to my desk.

01 Victor Talking Machine His Master's Voice Antique Art Mirror on Red Velvet Chair

Hanging the antique piece proved incredibly challenging, as the frame is real antique wood and the art mirror is incredibly fragile. I didn’t dare attempt to drill / screw / hammer any nails into the piece to add mounting hardware.

It took an hour and a half at my local hardware store but four different staff took great interest in my project and worked together to develop a solution that wouldn’t risk damaging the valuable piece. (I made sure to submit a customer survey of thanks and to write a review of the store in gratitude.)

It took six attempts to arrive a potentially viable solution. First, we tried these hardware items and kits…

02-03-04-05-06 combined (for BBCode)

I bought and returned each of the items above one at a time trying each on the antique in the store. But none of the above would penetrate the wood without risking cracking the frame or shattering the glass. It was only the final item – one associate’s bright idea of using Command Hooks which would be removable without marring the original work.

The nylon hanging wire didn’t end up working with the plastic Command Hooks but thankfully I had more fine and pliable beading wire on hand at home from a prior crafting project.

After a good night’s rest, I trekked to work and hung the new art mirror in my cubicle. Tragically the Command Hooks couldn’t bear the weight and instantly tore from the cubicle wall, but thankfully it didn’t shatter.

I improvised, realizing that I could knot the spare beading wire around the heavy metal staples affixing the mirror to the frame. The simplest solution proved the strongest and this is how it ended up:

03 Back of Art Mirror Fixed with Beading Wire Directly Applied to Staples.JPG

Here’s the piece displayed proudly:

04 Art Mirror Hung at Office

It complements my other cubicle adornments, which include:

– my newly-antique-framed custom-printed portrait of my favorite modernist author, James Joyce

05 James Joyce Portrait Framed at Office.JPG

– a pair of handsome wood speakers with copper cones for a regal finish

06 Speakers with Copper Cones.JPG

– an engraved wood felt-lined tea chest filled with my favorite variety of teas

07 Engraved Tea Chest Closed and Open.JPG
– a framed collage I put together showcasing portraits of a few figures in the 20th-century experimental music scene.

08 The Rest Is Noise Framed Collage
– and a 24×36 framed print of Miles Davis in New York in 1948 from the Herman Leonard Collection

09 Miles Davis 24x36 Poster Framed at Work.JPG
The next investment for my office should arrive this autumn. I’ve located a craftsman in Norway who custom designs rosewood headphone stands and will be commissioning one for the ORA Graphene Q cans once they ship.

It’s a cozy space and I’ve really made it my own! ❤

10 Cubicle Full Shot.JPG