johnagrandy

I don't even bother keeping track of Wynton anymore, having gradually dwindled down to next to zero interest in his music ... but I just noticed a 2006 release 2 CD compilation of his tenure with Art Blakey that might be worth the $16 : I used to have all the Blakey vinyl with Wynton (many included Branford too) and I think those days were his best. Many of what I remember as the better performances appear to be included in this compilation. Not sure on the label details ... anyone know ? http://www.amazon.com/gp/product/B0000248R...5Fencoding=UTF8 http://www.amazon.com/gp/product/B0000248R...-3680103?n=5174

"Children of Sanchez" is an amazing piece of music. I have no idea what genre it properly belongs in ... but without having listened to it in well over 20 years I still remember the lyrics. How many songs can somebody say that for ?

It's sort of like Slash's hat. Until someone rips it from the limo outside the Grammy's, Chuck's keepin' that hat on. Baked-in funk.

The turning point was probably "High Hat". Chuck got into so much doob that things kind of went off in an unexpected direction.

When I was in High School, Chuck got more musicians interested about jazz than anyone ... including Maynard (which is strange for a HS). Not just interested in listening, but also in trying to learn to improvise. He always baked the good stuff into the brownies. Many killer players in Chuck's popular ensembles. "... and I'm Chuck Mangione and this is my Main Squeeze !"

Those of you in L.A. don't want to miss this. Sco at the top of his game. A mix of the The Older and The Newer. Some bop & Miles, suiting Eddie quite well (and looking quite well for 60 ! ). Sco caught fire on "Do Like Eddie" (from "Hand Jive") ... the hi lite of the nite for a harcord Sco-o-phile as in me self. Alternate realities grip hold. But check it out ... Bill Stewart stole the show. He manipulates that basic kit from all directions, angles, dimensions, spaces, layers, partitions ... denormalizing and refactoring it into a new instrument. The man is where it's at in skins today. Also notable, "Polo Towers" from "Uberjam" ... with Eddie doing a trippy Miles bit ... but no improv from Sco. Huh ? Guess John didn't bring all the effects and pedals. Bummer. Hey was that Dave Chappelle in the audience ? Who else would call out "Budo" as something else entirely .... ha ha ha !

I would be encouraged !

No Hieroglyphics fans out there ? I can't believe it ... This is radical, meaningful, improvised music at the highest level.

It's called "Moanin' With Hazel" on the Gambit reissue ... I jus' wanna know who Hazel was !!

Man I wish I was an NYC cat ... If you're in NYC don't miss this ! (Please.) Also, if you go please post a review here. Thanks.

What's the difference between the Mosaic Select and the Mosaic box set ? Complete subset? Partial subset? No intersection?

That's exactly it. Botti has real talent. Woody wouldn't have taken him as a student otherwise. Botti could have been the next Chet. Instead he decides to cash in on his good looks playing boring music for lovestruck females.

It's on his website http://www.daveholland.com

Have you attended any of these shows or listened to any of these recordings ? Bands like Galactic, Greyboy Allstars, 20th Congress, Garage A Trois, MMW, Govt. Mule, Critters Buggin', etc. are all about music. Some of the most talented musicians in the world play/played in these bands -- a lot of them with serious genre-hopping chops and deep roots in jazz. This is a generation of players who had the talent but not the desire to prove themselves in serious jazz circles before venturing into other realms. Some of them in fact did prove themselves (like John Ellis in the T.Monk competition), while some of them didn't bother even though they could have. They had a maelstrom of diverse influences coming up, saw how confining serious jazz had become (with every note you play over-analyzed by the critics in terms of 50+ years of historical context -- what's the point ? ), and chose to express their take on life and our world in a different manner and make an impact in a new direction. I remember seeing Hunter 12+ years ago when he was surviving off $4 gigs: he was playing Monk, Mingus, Young, James Brown, Marley, Led Zep, Nirvana ... the list is endless ... and it was all good. Commercial rap in contrast has far less to do with music as a societal force than it does with image fabrication and materialistically-based hierarchical promotion of vacuous egos to those who seek the same. In a very real sense, commercial rap has become the epitome of capitalism.

I think the problem is definition of jam ... When ropeadope's touring entourage came through SF last, definitely wasn't many rich white college kids in the audience. Avg age was above 30. Totally mixed crowd: race, ethnicity, gender, dreds, skulls, substance habits, etc. Probably highest % were Deadheads, but still a low %. But like I said, maybe that's just the SF scene. Rap ... it's a tough exercise divorcing commercial rap from money. If you're not black, and you want in on that scene, you better flaunt money (clothes, cars, jewelry, expensive drugs) ... especially if you want a girl ... so it's definitely about money. How is jam about money? You dress like a slob, have shit for wheels, smoke dope ...