.:.impossible

I think the Beck album sounds like more of the same, almost like he is now parodying himself, as he has done with so many other artists. I liked Sea Change and hoped that he had grown up for good. The production on the new album is the only saving grace, but the material overall lacks the progress that I expected to hear. Red Hot Chili Peppers? What? Come on. Really? Oh well. As far as hip-hop goes, how could you leave Ghostface's two releases off the list. J Dilla? I liked the new Califone album, though not as much as previous albums. Got to see them play twice though, which was fantastic. I liked the Yo La Tengo album. Nothing new really, but I like the band. I have to put my brother's band's release on the list, even though it isn't on anybody's radar: ilad the spoon. I know there are people on this board who would appreciate the music. I like the Tortoise 3CD. I know they aren't too popular around here, but that's not going to stop me from enjoying the music. No cool contest here. I don't know. These are off the top of my head based on your list. I'm not very good at this because I never know if any album came out in 2004, 2005, 2006, etc. I get to it when I get to it. I did think that Gnarls Barkley came out last year though. Didn't it? Rather Ripped? I like it more and more. I think it is funny that people write off a band like Sonic Youth and they continue to make records 15 years later. I dunno...

Yes. I'm with you, but is there really doom and gloom, or is that just a longing for something that most of us never lived through, or will never again live through? It seems that there was so much progress over such a short period of time (decades). How long can a rate of discovery and change continue in any field? What I still don't get is that we all (I think) realize that the rate of discovery and change has levelled off (for now), yet there are hundreds of small record labels releasing jazz record after jazz record. We've got guys recording albums at a rate that not even there heroes recorded. Certainly they aren't trying to imply that they have more to say than their heroes did, are they? I get this feeling that there were more jazz records released in 2006 than there were in 1966. It makes no sense to me. I don't know if it is true, but it certainly feels that way. I'm having trouble putting my thoughts together. I love the music.

p.s. I think people are inherently interesting.

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

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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.