Hoppy T. Frog

Because of what it is wearing.

Holy moly, just heard this one the other day at a friend's and immediately ordered from Dusty Groove. Sooooooo good. iT'S FACKIN AWESOOOOOOOOOOOOOOOOME. Holy moly, just heard this one the other day at a friend's and immediately ordered from Dusty Groove. Sooooooo good. iT'S FACKIN AWESOOOOOOOOOOOOOOOOME. So is other stuff on the Soundway label. Holy moly, just heard this one the other day at a friend's and immediately ordered from Dusty Groove. Sooooooo good. iT'S FACKIN AWESOOOOOOOOOOOOOOOOME. Holy moly, just heard this one the other day at a friend's and immediately ordered from Dusty Groove. Sooooooo good. iT'S FACKIN AWESOOOOOOOOOOOOOOOOME. So is other stuff on the Soundway label. How'd I do that??????????????????? That's an awesome quirk of the new software if I don't say so myself.

True: In Catalan, there is no translation for "copyright infringement".

Lester Young w/Basie Disc 1, and sitting in 200$ worth of pudding. Ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhyeahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh.

You guys getting snow down there? Everything in DC is cancelled, it seems.

I had a paid-up subscription at the time of the last issue two years ago. Since then I have received nothing.

RIP John and RIP CODA I think I'll go read some of the 60s-70s back issues I have.

Oh god, some of those are hilarious! "Oscar Predator".

A particularly egregious misleading description: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=120526170251&ssPageName=ADME:B:SS:US:1123 "Cover EX has some slight signs of wear". O RLY?

That makes more sense. I was wondering what they would have done for 30 minutes in that era? Benny suddenly goes altissimo followed by chanting?

His website makes no mention of his musical endeavors. Edit: Oh yes he does.

PM sent

BTW, I saw Jon Abbey thanked in Ben Ratliff's "Jazz Ear" (no snickering, it's good light bathroom reading). Funny, cause on "another jazz board" he was chased off for calling jazz a "historical genre".

Murry Wilson shot Brian while wearing women's clothes?

I have all his albums, because I find his music intriguing, and I really like Mahanthappa (saw him live with Amir El-Saffar and it was beautiful--very emotionally moving if anyone thinks this scene is "Too smart for you"). One problem with all his previous albums, except maybe Mother Tongue, was that they felt like work to listen to. It might be a result of the CD-era tendency to make an album as long as possible. However, the new one actually is fun to listen to. It has melodies (kinda!), and it's more memorable than the other albums. This sounds like a backhanded compliment, I know. But give it a try. I will say that I think the much-lauded Mike Ladd collaborations are TERRIBLE. I couldn't sell them back to the CD shop fast enough.

It already has been - in, among other places, the deep underground of the "DJ culture" which is slowly beginning to influence some jazz, quiet as its kept. Which is why "justifying" the relevance players like Eric Alexander is like justifying VCRs. Otherwise, I rest my case. Revisit this thread in ten years. I'm not convinced that "DJ culture" will be influencing anything. "DJ Culture" itself is way past its peak popularity and general cultural influence. As a musically adventurous teenager I was big into that stuff over 20 years ago, and was devouring English music magazines in the late 80s when English yoof were having guerilla raves in fields and warehouses. In 1988-91, that stuff was the future, and the music seemed genuinely innovative and exciting, either because of its association with what seemed like a genuine grass roots underground, or maybe it genuinely was innovative and exciting. A few years later "electronica" seemed poised to become an overground chart phenomenon in the US (Chemical Brothers, Prodigy, etc). It didn't. (Also, a lot of the music being marketed by the majors sucked.) Jazz artists tried to come to grips with it, like Ben Neill (judgement: he sucked. I had a hard time selling his big-label CD back to a used CD store--no one wanted it). The acts got dropped, the festivals collapsed, or changed musical emphasis, the CD compilations with cheesy covers slowed to a trickle, even the magazines dedicated to the phenomenon folded, and kids moved on to something else. What I'm trying to say is that although you may have discovered it recently, the "DJ culture" scene is so over, that whole scene and the music involved might as well be Dixieland at a Shakey's Pizza. It ceased to innovate, and it is no threat to the authorities like those English raves in 1989. (Look up the Criminal Justice Act). I'll give you a good old-fashioned unsubstantiated Clementine pronouncement from on high: The future of "jass" is the Taylor Ho Bynum/Mary Halvorson/Peter Evans type of scene where they play whatever the hell tickles their fancy, jazz n'pop n'folk and METAL whetever they hell they feel like playing in whatever musical configuration they choose, yet they can still bring mad chops and discipline it to a Braxton composition. Walkin' with Jesus in Exurban Maryland, Hoppy Edited to add METAL IN CAPS

This article in Ebony seems to imply she is real: http://books.google.com/books?id=deBupr5jEw4C&pg=PA119&lpg=PA119&dq=Roz+Croney&source=bl&ots=mxt04-IpJP&sig=gf2yMkSeRWx7W-iM8dC1-HBMN8E&hl=en&ei=LFJFS8K-JIuRlAfe8s0N&sa=X&oi=book_result&ct=result&resnum=6&ved=0CBUQ6AEwBQ#v=onepage&q=Roz%20Croney&f=false

What's the story here? Is Jarman out of the Ensemble again?

Is American Jazz Clasics similar to Lonehill and Gambit, a European label reissuing 50 year old + material? I saw Sonny Stitts Plays Jimmy Giuffre is coming out, but I would prefer a Japanese (or US) reissue. Thanks, Baker Yes. "American Jazz Classics" is one of those public domain "Andorran" labels.

Reich's Music for 18 Musicians, original ECM recording.

Don't tell Bob Rusch.

Oh shoot. I had it in my hands at a used store in some city--I have no idea where-- and passed since it looked so square. IIRC, the tracks are all real short, which is what turned me off. I should have previewed it.

About a month ago I played the disc 1 version of "Bill's Hit Tune" from the "Turn Out the Stars" set. Seemed to me that the tempo increased by about 20 percent, maybe more, during Evans' solo. This pretty much made the music rhythmically incoherent IMO; where "one" was essentially disappeared. Is there any other well-regarded jazz musician who had this problem to the extent that Evans eventually did? I've never heard anything close to it. I don't have your book at hand, but was it you that said that Evans' brisker tempos late in his career was because he replaced the skag with coke?

Also by Stuart Broomer: "The Paul Molitor Story".

I've heard it, too. Apparently a Chicago guy called John Steiner bought Paramount, then found that loads of the masters had been junked. Apparently, some farmer lined the walls of a chicken house out of some. Steiner rescued some and a bunch more, which Decca had been interested in buying, turned up at Riverside, who issued them, paying Steiner a small royalty. And that's it for Paramount, I gather. Eli Oberstein bought Gennett but doesn't seem to have been too interested in reissuing material; he wanted the label so he could get around shellac rationing (only firms in existence before the war could get an allocation). This must have been when he was involved in Elite and Hit Records, not Varsity. MG Ken Steiner, I think.