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medjuck

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Posts posted by medjuck

  1. 3 hours ago, Holy Ghost said:

    Don Was is proving to be harder to chase down then I thought. Back in the "walk the dinosaur, Was Not Was" days, dude could be found everywhere. Now that he's CEO of BN now, I can't find him anywhere...but, I'm going to keep trying.

    I saw a a few weeks ago at a Charles LLoyd  concert.  Even talked to him:  asked him if they'd recorded the concert.  His answer was that they record all of Charles's concerts. 

  2. Just got an e-mail from Band Camp:  

    "Next Friday the 20th and Saturday the 21st Be Ever Out: The Music of Henry  Threadgill is happening at Roulette Intermedium in Brooklyn. 

    Over two nights, the music of four classic Henry Threadgill ensembles will be performed by groups consisting of original members, current collaborators and some of the City’s most adventurous musicians. 

    Night One features the music of Air and Very Very Circus as performed by the Air Legacy Trio and Very Very Circus Legacy Project. 

    Very Very Circus Legacy Project features:

    Marcus Rojas, Chris Bates, Brandon Ross, Jose Davila, Miles Okazaki, Gene Lake, Noah Becker 

    The Air Legacy Trio features:

    Marty Ehrlich, Pheeroan akLaff, Hilliard Greene

    Night Two features the music of Make A Move Legacy Band and The Sextett Legacy Band. 

    The Make a Move Legacy Band features:

    Brandon Ross, Darius Jones, David Virelles, Stomu Takeishi, JT Lewis

    The Sextett Legacy Band features:

    Frank Lacy – trombone, Jonathan Finlayson – trumpet, Mike Lee – flute/alto flute/clarinet/alto sax, Christopher Hoffman – cello, Ken Filiano – bass, Newman Taylor Baker – drums, Reggie Nicholson – drums

    Link to purchase tickets below. If you’re in New York next weekend come on through. "

    roulette.org/event/the-music-of-henry-threadgill-1/

  3. 3 hours ago, Chuck Nessa said:

    Left to right; Gene Perla, Richard Seidel, John Norris, Bob Koester, Bob Porter, Nils Winther, Bernie Brightman, Bill Smith, me, Marvin Goldberg, Susan and Jim Neumann, Bob Cummins.

    Thanks. I was just going to ask you if that was Bill Smith.  And I didn't recognize John Norris until you pointed him out. 

  4. I was barely aware of the Beach Boys in their first incarnation.  My friend Zal Yanofsky got fired from his job as a rock station 
    DJ  for playing the Beach Boys and Buck Owens.  By the time I saw them live at Massey Hall there were about 20 Beach Boys but Brian wasn't one of them.  (The Captain was, as was Blondie Chapman.) But I did get to see Brian when he toured with his own group and then when he was promoting Smile.  My wife got to spend a day with him and his family while doing an interview for a magazine about  "lake life".   Also saw the regrouped Beach Boys before Mike Love ended that.  

    IIRC every time was an exciting experience.  

  5. 1 hour ago, jazzbo said:

    That's what I am using. I post on several boards and copy and paste and sometimes when I post here the font is large, often I change that using the size tool in the toolbar in the posting window.

    Ahh.. what's the tool bar in the posting window and where is it?

  6. 3 hours ago, Niko said:

    I could now see a snippet of that CODA article on google books. The line-up with Washington is reported there for the Montreal gig - however, unfortunately, without a precise date... 

    but that date could be found... the 23 February 1969 edition of a newspaper named La Patrie mentions that Blakey would be at the Black Bottom in Montreal from 10 to 15 March 1969. So together with the Coda article, that confirms Washington with Blakey in mid-March. 

    The Black Bottom!  I remember it being a really small place.  (I could be wrong-- it was 60 years ago.) 

  7. In the early '80s a music publisher I knew went to see the Byrds at one of their reunion concerts and offered to help them buy back their publishing contracts on the songs they'd written if they put up half the money.  He said they explained that they were all broke from their freewheeling earlier days and couldn't come up with the cash.

    He bought the rights himself and a few years later, with the coming of cds and reissues he made a a huge profit.  I would hope that they got something for the reissues but as we old know most of the the money from catalogue sales  and broadcasts goes to the publishers. 

  8. 42 minutes ago, mikeweil said:

    Today I finally found a copy of the last missing Tjader item in my collection:

    NzMtNTE1MC5qcGVn.jpeg

    This track never was on LP or CD!

    That's great!  (But are you sure it's the last?)

  9. 4 hours ago, Rabshakeh said:

    I've decided to read David Foster Wallace's Infinite Jest finally. For whatever reason the book seems to have replaced Ulysses as the book that an intelligent person is supposed to have read, and it now seems to be the go-to indicator for young people who came of age with social media to determine whether someone is a serious reader. I have enjoyed other internet era touchstones like 2666 and I am a shallow person so I decided it is time that I had to read it. 

    My initial impression 100 pages in is surprise at how terrible it is. It seems begging on its knees desperate to be Pynchon, but Wallace is just a terrible writer sentence-by-sentence (some of the sentances are eye-raisingly bad without ever being funny), the tone is leaden and tiresome, and the only thing interesting about the ideas and setting is that Wallace considered them interesting. The purpose of the footnotes seems to be to give academics something in the book's form to discuss. But mostly it is that cringing humiliating derivative relationship to Pynchon (similar to e.g. Neal Stephenson ripping off William Gibson's classics) is really distracting for me. I can only assume that it is famous because it is long; has encyclopedic pretentions (well, foot notes); because the main character fits the internet archetype of the gifted kid dropout; and because the people reading it confuse an inability to write with complexity. 

    It feels.at this stage like it is going to be a long 981 pages, so if I am missing anything let me know. I'm always willing to be correct. Perhaps the book is plot driven or picks up as it goes. 

    Macdonald can have a lot of plotting issues (the opposite of Agatha Christie's: everyone just confesses immediately upon being confirmed and in sequential order), but when his books are good they are very good and among my favourites of their type. 

    I had exactly the same response to Infinite Jest.   One of the few books I've never finished after reading 100 pages.  (And I love Pynchon).  Also agree about MacDonald. 

  10. 11 hours ago, Teasing the Korean said:

    This show was great, thank you!  @Stonewall15 sent me the link.

    Does anyone know the audio sources that were used for the LPs represent the surviving shows, or could some of the audio be from lost shows?   Are these Copmpavailable for viewing anyplace?

    The Harrod book Ghost references lists the extant shows  and the Lp releases.  A brief comparison of the 2 suggests that a lot-- but not all-- of the Lps are from shows that no longer exist (as far as we know right now). 

  11. Saw the Alvin Ailey dance troupe a couple of weeks ago and was very impressed by the opening number "Finding Free" which had music  I'm presuming was written specifically for it by Matthew Whitaker.  I really liked the music but listening to some of his albums on Spotify do not find them nearly as interesting.  Anyone here  heard him recently and have an opinion?

  12. 6 hours ago, ejp626 said:

    There is a min- Mel Brooks film festival up in Toronto.  I'm going to see Spaceballs tonight and plan on seeing High Anxiety in about two weeks.  I don't think I'll be able to fit any of the other ones in.

    Rick Moranis  said that they were once planning a sequel: "Spaceballs 3-- the Search for Spaceballs 2". 

  13. I'm surprised that no one has discussed the Mingus.  I really like it.  the liner notes led me to expect the bass to be almost inaudible and the bass playing to be weak.  I didn't find either to be true.

    The ensemble playing is really tight (though I may prefer  the looseness of the old Workshop recordings) and Danny Richmond is his usual kick ass self. 

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