danasgoodstuff

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  1. Gabor Szabo

    First two are lovely, some of the related work even more so, I meant 'populist' as a descriptive not a pejorative. Later RTF I have little use for but YMMV and that's fine.
  2. Why You Need A Jukebox & Jazz 45s To Put In It.

    I love jazz 45s, wish I had more. But BN did some weird things - 45s with different takes that were only marginally shorter (Senior Blues), edits of things that weren't that long, and not putting things out as singles that seemed naturals, like Horace Parlan's Heading South: and this on the B-side:
  3. Gabor Szabo

    Absolutely, although the sci-fi references may have been silly to you and I they tapped into the public's love of genre fiction in a way that was of its time and connected them to prog- but while a RTF/Rush cross might have genuinely spoken to some people, I wouldn't be in that group. But I'm not sure how deep any of that was for Corea, or if it was just a vague gesture towards something he felt he should do, without thinking it through to any degree past 'hey, lets communicate!'. Some of Szabo's work seems nearly as superficial in its gestures towards world music, but I don't know it as well AND lots of worthwhile art has been inspired by philosophic phluff that doesn't even begin to stand up to scrutiny so...? If dilatants actually understood the cultures they raid, they might make even less interesting music. I certainly have no deep understanding of raga, and if I wanted such I wouldn't look to Szabo to get it, or to Corea for jazz engaging deeply with the popular music of his day. Grant and George and Stanley T. all, IMHO, actually understood R&B, etc. pretty darn well. YMMV.
  4. Gabor Szabo

    Return to Forever, more so mk.2 (Dimeola) than mk.1(Farrell). And off and on after than, to varying degrees.
  5. Gabor Szabo

    My problem with Chick deciding (after Circle and Miles) that he want to play in a more 'for the people' vein wasn't that it was dishonest, it was just clueless. The others mentioned had some familiarity with and genuine appreciation for things that actually were popular in their time, Chick just guessed. He's said so, as JSngry mentioned. Gabor made a sort of populist move, only earlier and in a decidedly different way than Benson. Gabor's stuff is only kind of interesting to me, but I may yet change my mind.
  6. Gabor Szabo

    As an avid history reader, sometimes the footnotes are the best part. But seriously, I got no beef with Geo. Benson. Got no big pile of his records either, but I got enough that I can listen to him when I feel like it and the man can certainly play. Got no beef with Nat Cole or Wes M. either, and the're all more than footnotes to me - possibly three entries in the Why Couldn't They Make a Decent Living Playing Real Jazz chpt. All of the afore-mentioned (and Grant and Turrentine) were, IMHO, more genuine populists than someone like Chick.
  7. Ray Crawford

    Reputedly "La Nevada" was his own favorite, but I don't know his playing well apart from that.
  8. COVID-19 III: No Politics For Thee

    Is that really 1958? Don't think I've ever heard him play so well so late. Lester rules.
  9. That RS piece goes on and on, but never mentions his masterpiece (IMHO), News For Lulu, which has enuff concepts for 3 albums but it somehow doesn't get in the way of the playing which is superb by all hands who function with a togetherness that makes telepathy seems the only explanation. Nothing else I've heard by Zorn, and v. little by anyone, even comes close.
  10. Rename Kenton Hall?

    https://www.change.org/p/unt-jazz-program-rename-kenton-hall-at-unt?utm_content=cl_sharecopy_22926594_en-US%3A1&recruiter=1121149850&recruited_by_id=22c3d860-b1a2-11ea-bad7-6574c66e65d5&utm_source=share_petition&utm_medium=copylink&utm_campaign=psf_combo_share_initial&fbclid=IwAR1dtL47sxGqSP3JzMSv7b6AAusoRFNMofsAExtokn7rp0AQ44GSBU0Gl6A I know at least one of our regulars went to UNT, but all are welcome to comment. It's not unconnected to events in the wider world, but let's try to keep this as non-political as it reasonably can be. A comment from a friend of a friend: Colin Avery Hinton Yesterday at 10:22 AM This post is difficult for me to write as I risk alienating myself from my alma mater and a few of my mentors, but after several days of thinking about it I believe it needs to be written. This is a long read. CW - rape, racism Kenton Hall at University of North Texas needs to be renamed. Kenton's MULTIPLE racist comments in published magazines over the course of a decade are NOT okay. On top of that, an entire book has been written by his daughter wherein she alleges Stan repeatedly raped her from ages 11-13. The arguments I see against this seem to come from a few places - 1) But he did a lot of great things for jazz education! 2) I worked in Kenton's band for X number of years and I never heard him say/do anything racist. 3) These youngsters just don't know the history of the music or Kenton's legacy! or 4) This is a "hit job" that is surfacing because of liberal politics and what one person referred to on Jay Saunder's post as "the church of woke" and then complained about tearing down statues of Christopher Columbus, and 5) Making light of rape allegations. I'll address all of these. First, a bit of info about myself since I've been receiving a multitude of friends requests from staff/faculty/students at North Texas that I don't personally know. I am a drummer/composer/percussionist/educator in Brooklyn, NY. I attended UNT from 2006-2011. I never played in the One O' clock, but sat in the Two or Three for three years (the running joke was that I was the Three O' Clock "house drummer"). I make a living playing and teaching Black American Music and have been very fortunate to play regularly with many of my idols since relocating to Brooklyn in 2011. When I started at UNT in 2006, there was only one black professor. He taught the trombone studio and was also split between his responsibility teaching in the classical section of the school. I maybe had one interaction with him in my five years of attendance. In 2008, UNT hired Brad Leali, who I worked, talked, and hung out with extensively. While I was at North Texas, I would say there were less than 15 black jazz students at the school when I was attending. I've thought about this a lot and I honestly struggle to remember even 10, but I'm going to give the program the benefit of the doubt since I didn't know everyone. I also remember less than 15 women jazz instrumentalists in the school while I was attending. These numbers matter because UNT is a HUGE music program. The jazz program had nine big bands (seven of them had two rhythm sections), and a tenth sometimes-big band that did repertoire, three guitar ensembles, three vocal ensembles, a fusion ensemble, a latin-jazz band, multiple brazilian/afro-cuban ensembles, and a south-indian ensemble, and there was still a huge portion of the school that wasn't able to audition into ensembles. That puts BIPOC and women representation at well under 5% of the student body... UNT was an overwhelmingly white male music school. I've also seen the argument pop up where someone has said "many people of color attended North Texas! We're very inclusive and diverse!" For every time I see that comment appearing in the future I will post a random picture of an all white all male One O' Clock lab band from a different year. This will not be difficult to find. Why does that matter for this argument? In promoting a school as being inclusive and diverse (and trying to get more BIPOC and women involved), this stuff matters. If I'm a high school aged BIPOC/woman musician that is looking for a good and affordable music school to attend for college, and say I'm looking at two options - UNT, and for this example let's say University of Michigan, this is what I would see... UNT promotes the legacy of Stan Kenton, someone who openly published racist comments in major publications and has a rape allegation hanging over him... and UofM, who had Geri Allen as a main professor for years... It's not a hard choice. 1) Kenton did a lot of great things for jazz education. Yes. This is undeniable. He helped build the program at North Texas and make it the school it is today. He also used his band to recruit people straight from the One O' Clock to give them work straight after college. He was one of the first people (if not the first) to begin the summer jazz workshops that are now so prevalent across the country. He left his entire library of charts to UNT - great! I played tons of them. There is no question that Kenton was invested in music education, but like all of us (especially white people who play Black American Music), Kenton had blind spots. These are glaring and huge if you look at his letters to publications, especially when he accuses a new trend of "white people being a minority" in Black American Music. The irony... 2) Utmost respect for those of you who worked in Kenton's band. That is great that you had that opportunity. However, if you take these comments directed at Kenton as a direct attack on yourself... ask yourself, "Why"? Finding out that your idols did some really shitty things SUCKS. Trust me - I've found out more than I care to think about. Also, as a mentor and friend of mine that worked with Kenton pointed out, just because YOU (a white person) never experienced Kenton being racist/saying racist things, does not mean it did not happen. Also important to note - white people can (and often) do racist things. This does not inherently make you a racist. The dichotomy of "if someone does or says something racist, they are racist, and racists are bad" is wrong. White people are all inherently racist as we benefit from a power system meant to benefit us (and marginalize everyone else), so that argument is out the window. White people often do stupid racist shit without realizing how bad it is (I have been guilty of this and still am). While that does not mean that X person is a racist to the likes of a nazi, klan member, etc, it is still something that needs to be addressed, as it is hugely harmful to the BIPOC community. 3) Regarding the history of the music and Kenton's influence on UNT... I am in my 30's and am someone who is known as having an extensive record collection and somewhat of an encyclopedic knowledge of records. I know the history of the music and of Kenton's legacy. I'm angry... so I'll be blunt. If you come at me with this "you're young and don't know anything" bullshit regarding the history of the music or the legacy of certain people, I WILL respond. And I will be very fucking pointed. For every question like this I receive, I will respond with something like "Name one member of the AACM", "Name one member of BAG", "Tell me what either of those acronyms, stand for"... or we could even go simpler and just say "name one member of the Cecil Taylor's Unit Structure band and tell me why it's important". I have very little tolerance for this kind of attitude and will respond accordingly. 4) Regarding this being a "hit job" or angry "woke people". Times are changing and people have less tolerance for ignorance. Yes, the arts are full of problematic people. There are ways we can still celebrate their contributions without holding them on a pedestal or making them a central figure of an institution that claims to uphold "diversity and inclusion". Kenton's legacy will live on without having the main classroom named after him. 5) Jay Saunder's blasé response to Stan Kenton's daughter's allegation of sexual abuse and rape against her are alarming and upsetting for so many reasons. I don't really know what to say about that one other than this.... do better. Your past students deserve it. The legacy of the school deserves it. Every woman you EVER taught deserves it. Thank you for reading all of this. Long story short - UNT... you can do better. I respect this school immensely and my five years spent there made me into the musician I am today. If you take these comments about Stan and his legacy personally... ask yourself why? This is about the future of education and of the school... and quite frankly this shit doesn't fit into that equation anymore. Times are changing. Enough is enough. Happy Juneteenth. Black Lives Matter. Defund the Police.
  11. So, What Are You Listening To NOW?

    I passed on a Studebaker dealer promo pack that featured a recording by Miss Suzuki once, I love Studebakers but it was too much $
  12. Ahmad Jamal

    I think we've done this before, but IMHO the trio with Crosby and Fournier was major, both in its influence and its inate goodness; but the musical and social context they existed in doesn't exist anymore so that may be hard to hear for folks coming at it backwards. It is about arrangements not blowing. They create their own space in the landscape of the times. The Sounds and early (Young/Holt) Ramsey Lewis seem blatantly derivative, but in a good way. Quintessential Piano Trio, not just as an instrumentation but as genre. Nothing else he's done that I've heard engaged me at all. But that band had it going on. YMMV.
  13. So, What Are You Listening To NOW?

    Ooh, a mono copy...is that real mono or just a fold-down? Or have I been spending too much time on the Hoffman Forums?
  14. Ivo Perelman - Where to Start?

    I own Children of Ibeji (Brazilian folk tunes) and Man of the forest (Villa-Lobos tunes), I kept them but haven't bought any more FWIW.
  15. James C. McAuliffe - Paddy on the turnpike - 1903

    It's a plaid thing. Wonder if Rufus Harley ever heard this, or something like it? Love the low register honks!