.:.impossible

I think 482 has a lot of great music to explore.

Sangrey wrote: "Now that's not the point of recording, but then again, you're wondering, if I'm reading you correctly, why so many jazz records today aren't that distinctive. It's because the people making them aren't." I don't wonder why so many jazz records today aren't that distinctive. I question the motive to release music that isn't that distinctive. I am not citing specific examples, nor am I insinuating anything to any of the recording musicians on this board. MG, I'll be interested to read what part of Jim's posts you agree with. I'm glad to see some discussion. I saw plenty of hits, but no replies... this seems like such a vital issue to me, that goes straight to the core of what this music is about. I began to wonder if no one else thought much about it.

I also know that there are quite a few recording musicians that use this board. I would be curious to hear what their motivation(s) are to record.

Then why record, period? Isn't recording, to some degree, about documentation? We know this shit doesn't sell, so I won't pretend to make it about commerce. You make it sound like the present doesn't matter. Only the past and the future matter, and even then, the past doesn't really matter all that much. I am suggesting that now matters much more than the past or the future, always has, always will. It may be a fleeting moment, but it is the most important point in time. I guess, by 'now', I am referring to an idea. Not the actual millisecond. 'Now' will always be a moving target. I am just curious what everyone hears as being 'now' jazz. Alexander caught shit for listing musicians that he thought was reflecting 'now'. I was hoping he, and others, would use this opportunity to discuss what their idea of what modern/relevant/current jazz music sounds like. I am surprised that no one wants to touch this one. Seems like there are a good number of guys here who take pride in being in the moment and accept nothing less. Thanks for thinking about this with me Jim. I always appreciate your ideas.

Jim (b3-er), why do you consider those musicians current/relevant to the progress of the jazz 'tradition'? re: Sangrey's tabla rasa approach, how would that be an extension of the jazz 'tradition', and not an entirely new music altogether? I'm not suggesting we start discussing what makes jazz jazz, just that I think we are again talking about the future here. There has to be some bridge between the past and the future, and that is now. What do you hear now that you think is relevant to this line of thought? A band like Think About Life seems to be doing just this, and sounds pretty damned modern doing it, as does Califone to a different degree, though I would not consider either of them to have a connection with the jazz tradition.

I'm glad you're back in the saddle.

The title of the thread may have misled Jim, whose post has certainly derailed the rest of it. Reading this board, and other non-jazz music boards, it is evident that many people find it of utmost importance to remain current, to stay ahead of the listening curve as if great progress is being made on a weekly basis. For a music that is considered by many, including its own fans, to be a struggling, perhaps dieing breed, the amount of weekly new releases is staggering. Why is this? Do many of these small labels actually have a scene to document or are they doing it because it is the only thing they know? I understand Jim's point about there always and forever more being more of the same. Surely these record labels aren't sitting around the table agreeing to make another investment in more of the same over and over again. Certainly, these record labels truly think that some of the recordings they are releasing present modern, relevant music, that they are presenting a group of artists that are extending beyond what has already been presented. I also understand that originality and innovation are not the only criteria for releasing an album. Whatever the case may be, I guess I'm taking the stance that these criteria ought to be given more weight going forward.

This isn't really a 'where is jazz going' thread. That is for the future to decide.

Just read through the entire thread... what David said is exactly what I was getting at. Man, Bruce, between your ears and your hands, the vibraphone has put you through the wringer.

Bruce, because of your last sentence, I think you do have damage, but I hear all sorts of unexpected "extras" when I'm playing. To be honest, I think my bars need to be tuned, but those surprise overtones are amazing!

Does it smell fishy down there? oh yeah. aqua boogie baby. I am Sir Nose D'Voidoffunk. I can't swim. I never could swim! I never will swim.

re: Jazz Curators I sincerely hope that is a joke. I thought it was funny.

It occurred to me while reading another thread that many of us have a different idea of who is making current, relevant music, and what constitutes that current and relevant. In some ways, I think it is unrealistic to expect great progress in music month after month, year after year, decade after decade. In other ways, judging by the amount of recordings released by labels that claim they are barely making ends meet, there are plenty of people out there that think they are moving the chains. Certainly, originality and innovation are not the only criteria on anyone's scorecard, though it seems these are increasingly important as we are inundated with new releases month after month. I'll be interested to see where, if anywhere, this thread goes. I hope to get some lists here, as well as some examination of who is being considered current/relevant, and why.

I am currently a participant in an olfactory study. Apparently, I use something very similar to sonar to detect underwater scents. I don't quite understand it, I've just always been able to smell underwater. And accurately.

Next thing you know, she'll be trying to get you to change your name from Hardbopjazz to Adultcontemporary!

I'd love to see the Mssgrs dvd. How is recovery going?

Ha! Nice Vint. Dmitry has certainly done an excellent job building up the supsense in his listening room thread, much like the hollywood blockbuster shown above.

She likes music. We don't necessarily have the same taste, and she doesn't necessarily have the same need for 'new sounds', but her taste/collection is actually pretty admirable.

Well Tickle Me Extreme Elmo. We've got a match.

Alfred E. Newman Black Spy White Spy

Remember, YOU come first. Dr. Phil endorses this message.

No, they won. The terrorists, the pornographers, the drug dealers, the pedophiles, the reps, the dems, as long as they buy the magazine, they all win.

I've had it for a while now, and for whatever reason, I find my mind wandering away from the music whenever I put this in. I really enjoy listening to most of Andrew Hill and Nels Cline's music, but I have not yet made the connection with this one that y'all have.

Congratulations to all the amateur pornographers for all of the hard work. Your work has not gone unnoticed. 2006 is your year. You have paved the way for future generations of uploaders.

That's the best shot you've got? Don't start a thread you can't finish punk.