JSngry

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About JSngry

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    While logic makes its demands, emotion lends its voice
  • Birthday 12/14/1955

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  • Website URL https://soundcloud.com/summusic-3
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  • Gender Male
  • Location tx, usa
  • Interests Getting to the good parts.

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  1. Concerts: previews / reviews

    Copland...don't really like Copland, to be honest. Don't DISlike him, just find him kind of...pleasantly lacking. This piece was no exception. I mena, it was "good", and I did enjoy it, certainly won't shy away from exploring it in the future as opportunity arises. But...and it could have been played better, honestly. Might have been Reed Betrayal, and we've all been there, but...if you're playing a composed piece and you know what's coming and you know where trouble is starting to arise with your equipment, I think you ought to improvise a little and find a way to work around that. That might sound harsh, and maybe it is, I mean, hell, this is live music and sometimes shit happens that you just cannot control. But anyway, pleasant but not really satisfying performance on the Copland. Mahler, though, holy shit, what kind of extended paen to angst is THIS? Holy shit, brother murders brother, dead brothers murdered bone gets turned into a despairing flue, nobody lives happily ever after, hell, nobody even lears a tragic lesson, even the castle collapses. This is not what we as Abrahamic cultures come to expect, we expect at least some level of justice, or redemption, or lesson, but no, not hear, what happens here is simple - everybody dies and then they're dead. Period, end of story. I intentionally avoided doing advance review of this one because I knew it was highly vocal and I knew there would be subtitles. I wanted to experience it "cold". So, yes, this story keeps unfolding, and there's a frigid kind to be warmed, a lovely flower in the woods, and a pure-hearted soul who's murdered by his brother, where is there NOT redemption to be had in this setup? But no, BOOM! Castle collapses on everybody and that is that. I was more than a little taken aback. And not least of all because the music was so freakin' brilliantly composed and executed. Lord have mercy, van Zweden can do Mahler, and he's gotten his band (and last night, the chorus and soloists) to do it just the way he wants it. I've come to really dig Mahler once I got past past memories of Leoanrd Bernstein's Columbia/NYPO recordings, it's not all special effects boombahCRASH, there's meat there, and no need to hurry either. This was a magnificent performance and, given the story it told, a certainly unexpected one! Driving music to and from was the new Henry Threadgill Pi album. The Copland paled as a folloup to it, but leaving the hall after that Mahler thing, it seemed like a great wave to get on to keep on going. So, yeah, Threadgill, Mahler, van Zweden, great night.
  2. Concerts: previews / reviews

    That's a great quartet, imo, and you assessment of the difficulty of the music is quite correct. Difficult to simply play correctly, even more difficult to play correctly and with a "natural" feeling (or, if you will, a "swing"). Younger groups such as this have the advantage of never knowing this music as "new", it's always been there for them, so performance can begin to focus more on interpretation and less on just getting the damn notes right. Listeners such as yourself (and me, actually) who might have been put off by the apparent "coldness" of this area of music might be well served by hearing it played live and played well but younger (but definitely expert) groups such as this. The spirit lives! Heard last night: https://www.mydso.com/buy/tickets/jaap-van-zweden-conducts-mahler
  3. Just my opinion, but the better parallel to Concord as a standalone jazz label might be Norman Granz' Verve, not Pablo.
  4. Some classical cds for sale

    Putting in the PM for the HSQ and others right now. First thing that caught my eye, actually. Felix Slatkin, Schoenber AND Sinatra! PM sent on: The Hollywood String Quartet - Schoenberg Verlarte Nacht/Schubert Quintet (Testament) $5 Enescu - Symphony No 5/Isis (CPO) $6 Enescu - Symphony No 4/Chamber Symphony (CPO) $6 Mahler - Symphony 1 (Kubelik) (Deutche Grammophon Originals) $3 Ernst Krenek - Complete Symphonies (4 cds on CPO) $20
  5. Is the "t" in "often" Silent?

    "Reach out" is a term I first encountered in the corporate world, and then only after leaving the night shifts for the daytime. At first I thought it was some kind of a joke that everybody was in on, but nooooooo..... Apparently the connotation is that you are the one doing the reaching, and that you are doing so as a gesture which will signify the need for the reach-outee to be there, it's all about recognizing the value of others and connecting as a TEAM, nobody succeeds in isolation, but there must be a consciously proactive move to break the isolation, so, REACH OUT! god that world is so full of its own shit...trying to make the corporation the community, noting that you spend more time with your coworkers than you do your family without irony or disgust, just as justication for expanding the trend to make it "feel" more humane in the process. All I can think of is that putrid Diana Ross song, yuck. Reach out and touch somebody's hand, eeeewwwww. In the other example, although, I think a distinction has to be made about chronoplacement of the expressions. If you're leaving my place and I tell you to bring this cake home with you, well, that's kinda jacked. However, if I'm on the other end of the phone with you, or if I'm going to meet you later at your house, then bring this cake home makes sense, because then we are looking at both ourselves and the cake in terms of where it will be in the future thanks to our actions. If we do not bring the cake to the desired future location, we will have no cake, and what will we have taken is a lesson about the need to get the damn cake to where it needs to be by any means necessary. Although, it's just cake, hardly a dig deal, not like pie would be. Same thing with the books, if Little Johnny's teacher asks him where his books are, he will say that he forgot to bring them. His mother will have told him to NOT forget to bring them, once again proving that listening to your mamma is gonna be a Best Practice far more often than not.
  6. Is the "t" in "often" Silent?

    Depends on the desired rhythmic flow relative to the context of whatever else is being said on either end of the word.
  7. Oliver Nelson on Prestige

    Wow...did not realize Absract Truth and Straight ahead were recorded less than a week apart. That makes for a very interesting dynamic for both dates.
  8. Oliver Nelson on Prestige

    After finding Doug Payne's online discography, "Oliver Nelson On Prestige" has turned out to cover more material than I had imagined. I've had to order three Gene Ammons albums (just to get one session), two more Etta Jones (one of them another larger ensemble record, who knew?) and single dice by Clark Terry and Frank Wess. There are also several items that will probably be found the old fashioned way, by digging in various nooks and crannies, cyber and otherwise. http://dougpayne.com/on51-66.htm
  9. Updated.  Been out a few days.

  10. Oliver Nelson on Prestige

    I remember liking it just fine, haven't listened in a while. Didn't they do"Tippin' In" on that one?
  11. Oliver Nelson on Prestige

    Also in that same issue, in the back where the "educational " stuff was (is?) is an article about how to produce a record, where he would recounted producing that Drum Session, about which it should be noted that it was A3-LP Set in Japan, and about which it could be noted that Nuyorican Soul's "The Nervous Track" consists of massive and masterful reconstructions of samples from that album, and once you've heard both often enough is enriching as hell if you're so inclined.
  12. Oliver Nelson on Prestige

    Down Beat, April 24, 1975, page 10. New Hope For The Abstract Truth by Dr. William J. Fowler, the very opening line The actual quote comes at the end of a flow of thouht, but that is the quote. And it is the opening line of the article. I was wrong about the dominant chord thing, though. Here's the exact quote: So,, Subdominant chord. My quote is funnier, but it's not based on an Oliver Nelson quote. The whole article is worth a resd. He's still talking about lead alto, how important that was to him coming up, not learning Bird links, but getting a big sound that could lead a section. He was a Marine, you know.
  13. Name Three People...

    Willie and the Po' Boys The Earl of Sandwich Ruben and the Jets
  14. Oliver Nelson on Prestige

    With Trane, right? Wondering how much the initial Edwards-suggested impetus to create an album along the "African" theme was an immediate response to Africa/Brass, and whether or not Dolphy and Nelson had conversations about that one, you know, just talking shop. Something for idle speculation I suppose, but either way, Art Davis. I love Nelson's response when asked to do an African themed album, that he didn't know anything about Africa or its music, and then how he dryly notes that all of the records he was given to study were claimed to be by the most violent tribes, ALL of them, and then how he gradually etc. VERY dry commentary. Of course, this is the same guy who would later tour Africa and come back to say that he didn't hear any jazz roots in Africa, everything sounded like James Brown, and who a few years later said thank god for slavery, it gave the Black man the Dominant chord, and just all kinds of things that were either hopessly ignorant or else really layered, and Oliver Nelson did not seem like a hopelessly ignorant man.