.:.impossible

Exciting jazz musicians do not want to be associated with Verve. I think the door is hitting this guy in the ass.

free improv vocalists are very tough, because everyone has their own connotations with the voice, since we've all got one and we're surrounded by them all day long. That is an interesting observation. To be honest, I am not very familiar with free improv vocals, so I really have nothing to compare Tears to in that regard. I guess I'm not really looking for a "review" per se. I think a lot of the sounds that you have been involved in recording transcend "review". I'm honestly just looking for gut reaction. The link didn't give me any further insight into the creative process of these two artists. I just kept asking myself "Why am I listening to this?" Anyway, I'm not trying to harp on this one recording. I am sincerely curious.

Thanks Jon. I'll try again another time. What is your take on the recording?

Yesterday, I decided to pull out Tears Cosmos and listen to it at the house. I really tried to find something that I liked about it. Toward the beginning, there are some very heavy motions that I found to be bold and ballsy. Soon, though, those bold motions are left to recent memory. As the disc continued, I found my self conflicted. I really tried to find somenthing I liked about it, but I truly felt like a fool for listening. The sine waves are almost torturous in contrast to the sounds that Ami Yoshida is making with her lips, mouth, and throat. Most of the sounds she makes are small things many kids learn to do early on and forget about. Chances are you are still capable of making these sounds by closing your throat and pushing from your diaphram. Tiny sounds, squeeks, miniscule screams, screeches, gurgles, etc. I never would have thought to present this as performance though. As the sounds became closer and closer to bodily functions somewhere into the second track, I had to hit stop. Sometimes it sounded like a kid imitating death after being shot by her friend's finger. Those final seconds before laying still on the ground, counting to five, and getting back up to get back into the game. In conjunction with the relentless sine waves, and really not much else, I just can't hear how this can be considered an effective performance. I would be interested to learn more about the objective of this collaboration though. I personally don't get it.

Good for you Rooster! Make it!

You know, reading baltostar's comments, I thought it was johnagrandy! I honestly didn't look at the username until you just said that. I'd like to know more about this virtual counter-revolution. Are you talking about a mass rejection to all things media in an exponentially increasing media-centric world? Is this what RRK & Co. attempted to prevent by ramsacking the tv set? Neil Young, from "Union Man" This meeting will now come to order Is there any new business? Yeah, I think 'Live music are better' Bumper stickers should be issued. What was that? 'Live music is better' bumper stickers Should be issued The gentleman says 'Live music is better' bumper stickers Should be issued All in favor of what he said Signify by sayin' "ay" Ay! AY!

Upwithcavemen It's Time.

I'm going to throw Blind Melon into the mix, since I've been listening to a live CD that my wife brought home a few days ago. This band really had something in Shannon Hoon. I can only wonder what their music would have sounded like into the 21st century if he wasn't such a stupid asshole. Yeah, I'm bitter.

Jazz or no jazz, the working musicians I know have a hard time finding a "listening audience" anywhere. Either its dinner music in the background, or everyone is getting wasted and the music is in the background. Either way, the pay is the same. Ain't shit. Of course there are exceptions, but I've had multiple conversations about this with different people over the past six months. What do some of you performing musicians feel? How has this changed over the past 35 years? Now when it comes to buying music... the mainstream has begun to listen to personal choice tunes on their freaking cell phones. I don't care if you ARE Christian McBride, people are not playing your song on their cell phone. They are playing T.I. and Rascal Flatts. Chances are, its not even the actual song, just a ring tone. A ring tone. A ring tone. Marketing is the problem. It has become the machine that runs the people anymore. Like the bank in The Grapes of Wrath. It has plowed right over and buried constantly developing expression like jazz and creativity, the real thing. An imitation, or a cheap replica is more than enough anymore. Who really wants a trout mask anyway? Back it up with marketing dollars and push it hard, it won't be long before they're all wearing the trout mask replica, that is until the profit margins flatten out. The replica is now yesterday's news and VH-1 is doing a series on it. "I LOVE THE REPLICA"

Local talk questions not whether or not they raped a beat-up drunk of a stripper. Even if they didn't rape the beat-up drunk stripper, shouldn't they still catch some heat for hiring a stripper, binge drinking, etc.? Honestly, it sounds like any-University USA to me, except that someone yelled racial slurs out to a girl walking down the street, then we have the much-publicized email with extremely racial statements. I have nothing against Lacrosse. I played midfield and attack in high school for a sort of Bad News Bears kind of team. I think it is a great sport. I also have nothing against Duke University, though the mention of it makes a lot of people in Tarheel country steam. I do have a problem with certain individuals becoming "above the law", specifically college and professional athletes. It is getting out of hand. This case does deserve the attention it is receiving, but I would like to see the focus adjusted. I see it in high schools every day. Some of these kids have become untouchable. They can do whatever they please. This might be a tipping point. Apparently, the Minnesota Vikings just didn't take it far enough.

For some odd reason, I associated the title of this thread with FOREVER CHANGES before my mind flashed to "Well turn it up MIAN!" Anyone want to talk about LOVE?

I realize now that I missed a recent sale that Jon had on his catalog. I really do like the majority of the music I have heard from Erstwhile and think that I would really like the box. I've got a birthday coming up. Maybe I can work something out!

de Saram really is fantastic on this recording. I was hoping there was more with him! I am not familiar with Arditti Quartet (surprise surprise). Maybe this is something I would be interested in. Prevost, Rowe, Tilbury is what I should have said. Prior to today, I was familiar (slightly in comparison to others here at the Rat) with Rowe and Tilbury, but not Prevost. Needless to say, I am amazed. I think I would like to familiarize myself with this trio before moving back to previous incarnations. I will try to dig up some info on AMM in the thread.

I'm alive. I wouldn't eat it. She used to live here in Wilmington, which is were Dawson's Creek was filmed. My wife (girlfriend at the time) met her in a very empty coffee house one time. She certainly didn't seem like the type of girl who would get caught up in this type of stir. This guy is just bizarre. I'm done caring. Oh, wait. I never did. Why am I typing? Must stop.

Well, I didn't go back and pull out Tears today, but I did pull out tint (disc 2 from the Amplify02 set). I mentioned this duo before. Gunter Muller (ipod, minidisc, selected percussion, electronics) and Toshimaru Nakamura (no-input mixing board) improvising very pleasantly for about 50 minutes in Tokyo October 13, 2002. If this disc is still available as a separate from Jon, I would recommend it wholeheartedly. I can't speak for the entire box, though listening to this disc does make me wish I owned it! Prior to listening to tint, I decided it was time to unwrap AMM The Inexhaustible Document. I have no idea why I hadn't unwrapped it a year and a half ago when it arrived! This is largely my introduction to AMM, though I have heard them on the radio in Cambridge the night John B and I went to see Rowe. I don't know if it was the daunting cover art or something I'd read elsewhere, but I thought this was going to be a dense and heavy object that I would not be able to lift. On the contrary. I really enjoyed both tracks. I will be seeking out more AMM in this configuration, as well as the duo, trio, etc. I am hooked. Recommedations from Rats welcome! P.S. For some strange reason, I felt compelled to go back to page 1 and skim through about 46 pages before giving up. I love what this thread has become!

John B and I have talked about Cosmos before, I think. If I remember, this is one of the Ersts that he did not own. I haven't seen much discussion of this recording anywhere. I may have read a few comments on ihm... I just don't want to come off as unappreciative for all that Jon Abbey does, and I don't want to come off like I have already made my decisions and that is that.

I'm not being difficult, but it doesn't sound like there is any electronic manipulation involved. She sounds like she is making sounds with her throat and mouth. I respect the hell out of Erstwhile and related recordings for challenging me to listen and think differently. I just haven't yet found the depth or, say, joy in Cosmos that I find in, for instance, tint (from the Amplify 2002 box). I don't think I am being dense, I just felt silly for listening tor to Cosmos. This doesn't mean I have written it off, just that I did not get it. Hahen Fukei just came on the stereo from the Otomo Yoshihide album DREAMS. I really like Sachiko M in this setting, but I am still on the fence about sine waves in more intimate settings myself. I do like the more erratic uses of the machines though. Hey, I'm new to all of this stuff and still forming my opinions. I hope I am not coming off as closed-minded.

Jon, why wouldn't you expect them to be big favorites here, as opposed to any other place? I'm just curious. I had a lot of fun singing along to Cosmos. I wouldn't say it is a favorite, as I don't hear anything exceptional about what Ami Yoshida does with her voice. I've only listened to it once though...

I love it! For the past half hour or so, I've been playing A#, B, D#, E in the third octave of my vibraphone which can create a real scream with all kinds of imbalance, overtones and clash depending on which notes are ringing at the same time, the time intervals between notes, etc. It sounds wild from above the keyboard and changes quite a bit when I move ever so slightly. I have no idea was it sounds like around the room though!

Wait, who?

I have noticed that there isn't much in there yet, unless you are looking for Butch Morris, but it looks like an ambitious project. I didn't know if anyone was familiar with this work in progress.

I haven't seen mention of this resource here. Is anyone familiar with it? I came across it tonight when doing a search for Bryan Carrott. http://dram.nyu.edu/dram/

The only organist I really listen to is Larry Young. Sorry to Jim, and everybody else! Don't apologize to me. I feel sorry for you! You're really missing out on some great music! Just off the top of my head (and keeping it to "newer" organists in the non-Jimmy Smith mold): Larry Goldings - One of the few people who's releases I buy the instant they come out. He always makes interesting records with great originals that warrant repeated listenings. And he really uses the drawbars on the organ to coax different and unique sounds. Sam Yahel - His work in his own trio and with Joshua Redman in Yaya3 is fantastic. Another organist who is not afraid to push the boundaries, experiment with different sounds, and separate himself from the Jimmy Smith club. Dan Wall - A truly original voice on the instrument. Check out his work with tenor saxophonist Jerry Bergonzi. Medeski, Martin, & Wood - People dismiss them as a "jamband" or novelty, but they aren't listening. Medeski is one of the most influential keyboardists on the planet right now. Jared Gold - He has not recorded much, but there is a really great record on the label that organissimo used to be on, PKO Records, with guitarist Randy Napoleon, which is very very nice. Joe Bagg - A member of Anthony Wilson's trio... again, not too many recordings, but his playing is very cliche-free. and of course... organissimo - C'mon... you gotta buy at least one of our records!! Even though he hasn't recorded much, I would add Flanigin to your list of contemporaries.

I've felt like cohesion is what James Carter's recordings lack, as a whole. This is one reason why I posted about the particular track on LAYIN' IN THE CUT. Very cohesive.

There is an upside and a downside to Funny Rat. Many people who would otherwise have missed your comments will read your post because it is in FR. Many other people will miss it because it is buried in FR and not in its own Cecil thread. All posts in all threads disappear, sooner or later. Didn't mean to sound snarky--the pace is a bit of the fun, anyhow (a real discussion, for a change). Regardless, I wouldn't call it a personal disservice to avoid FR altogether--it's the proverbial Organissimo kitchen (and stay out, if you don't want to get burned). It's hard enough to quick scan, let alone post (I'll always admire the regulars, anyhow ). I didn't discover this until recently, but there is a small button beside every thread topic that looks like a ^. If you click it, it takes you to the most recent post since your last visit. Since I discovered this feature, I've been checking this thread a lot more often!