.:.impossible

Awesome.

I think I'll be buying that Feldman/Tillbury set. I've never ordered from an overseas Amazon. Anything I should know?

Duos For Doris is incredible, regardless of my limited exposure to this world of music. I've also listened to Too Beautiful To Burn on numerous occasssions and enjoyed it more each time. Have you heard The Hands of the Caravaggio? I think I just need more Tillbury. Anyone care to comment on Cosmos Tears?

I feel like Tadd Dameron is a major omission in my collection.

clifford, I hope your stuff is in climate controlled storage. Rats is liable to get to that hand of yours... I think I actually like this album more than One Step Beyond. I feel like I wrote up a semi-lengthy compare/contrast of the two (run-on sentences and all) once before. I wonder if it was here or BNBB. I'll look. And tomorrow I'll listen to this disc again. Had a good conversation with a drummer friend of mine just last week about Out To Lunch! and the sparse playing from Tony Williams through some of the heads. I think Roy Haynes brings an entirely different aesthetic to the music. Kit players of this caliber can really change the feel of the music just as much, if not more than the rest of the group.

Hell yeah.

Order In! Thanks for the push Lon.

Thread on Do Right.

This is more or less the way I imagine you. John, you look like you've been pumping some iron since I last saw you. You been working those triceps? Everybody's looking good. Hans, any thoughts of getting the crew back together?

Same here. Peacock and Swallow both came to mind. Must be the other musicians they are associated with. I also just realized that both of their last names are also names of birds.

Was that show recorded? Who else was in the band? I'm still looking for an entry point to Locke's music. He just hasn't grabbed me yet. Maybe the Doctor has a fix for that!

What an awesome creature. Humbling indeed. I certainly hope the tortoise acts as spokesperson for our galaxy when/if we are ever contacted by extra-terrestrials. Lord knows the human race is full of shit. The tortoise was given as a gift from one man to another. I hope that at least one of them realized the insignificance of the gesture.

Those are great!

Everybody wins! "Sometimes hipness is, what it ain't." "thanks for playin'"

Hey hey! Loving the .listen. series!

For one thing, it ain't always about deeper, or weirder, or challenging and surprising. I've got nothing against any of them, and I've certainly got nothing against musical history. Life is too goddam short not to enjoy. My recent trip down to Nola really reinforced this for me. Music, especially, isn't always about the above. I would argue that Stereolab is very much able to get deep into the vamp. I guess I've got time to waste...

The fact that Stereolab brings such a variety of music to mind says something to me. Then again, its Clem... I'd have never put Tappa Zukie and, well any of those bands in the same thread, but. Cobra and Phases, Dots and Loops both have some pretty amazing percussion arrangement in them. Combined with the horn and strings, I haven't really found that anywhere else. I don't care how many bands you list, you aren't going to get it all in one track, sometimes simultaneously, the way that Stereolab did it. The past couple of years, I've realized how much of a cop-out this jaded music fan thing is. Nothing against anyone, honestly. I guess I should expect a backlash for statements like this, but I'm being honest. I just don't get it. I just find it sort of tired to criticize EVERYTHING by throwing out the obscure that came before it. Or maybe its just what is on the jackets laying on the hardwood floor in front of you. Anyway, the hipster pissing contest continues! Everybody wins! I'm a fan of their recordings, moreso than their live performances and I find it surprising that they are still together. I haven't really heard anything post-Cobra and Phases yet. P.S. I remember the music being pretty good on the way up too...

I'da kept 'em for the cover art alone!

Professor Longhair Ernie K-Doe Buckwheat Zydeco

I absolutely love Cobra and Phases.

As far as the here and now goes, Pascal Schumacher was recently brought to my attention. I really like his playing. http://www.pascalschumacher.com/

I'm pretty sure Bruce was just trying to say that in his mind no one else compares to Milt Jackson. Bruce is a vibist. He knows first-hand the challenges that the vibraphone presents to the player. Bruce, everyone sings in a different style. I don't think it is possible to say that Louis is hands down the only trumpet player that ever made the instrument sing. Brownie either for that matter. Same goes for Lester Young and the tenor saxophone. I think I understand what you meant, but I would still stress that there is a lot to be heard in other vibists' recordings that you just cannot get in a Milt Jackson record. All that being said, I love to listen to Milt. Everything from Wizard of the Vibes, the Monk stuff, to Bags and Wes and the more blues/hard bop related sessions. I still haven't developed much of a taste for the MJQ though... Now listening: "These Foolish Things" Lionel Hampton The Complete Quartets & Quintets With Oscar Peterson on Verve (Disc 3). Singin'...

Victor seems to be one of those guys that vibists never took seriously. Because he was a pianist. Nevermind the fact that he had a fully developed four-mallets style contemporaneous with Gary Burton. Victor was different because he was playing four mallets above the nodes, which allows for a lot less reaching and much flatter shapes. You can hear it in his tone, which is quieter and somewhat less "alive". I personally like his playing. Gary Burton has always played in the middle of the bar, getting a much louder and thicker tone. I like Gary too, in certain contexts.

I couldn't disagree more. A lot of vibists sing to me. Milt Jackson is not the only vibist who actually played the instrument. I just can't understand where this is coming from, especially knowing that you yourself play the vibraphone. Milt Jackson defined the sound of the instrument for a lot of people, and I think that is something that many vibists have been dealing with ever since. I know you have said elsewhere that you used to play Milt Jackson parts verbatim. While that is ok for you, other musicians were, and are, more interested in finding their own voices. Milt didn't just take up the vibraphone and settle on sounding like Lionel Hampton. Red Norvo, Rollini, etc. These guys played their way. Let's start with Bobby Hutcherson. Have you ever heard Idle Moments? The Kicker? The entire session has a very songlike quality. Both of these sessions were recording during the same period that he was exploring Joe Chambers compositions. I think you are really selling Bobby Hutcherson short by assuming that he only played one way. He has decades of recordings that are all vastly different. I don't care for all of them. I have a feeling I might not care for half of them. I don't know. I do know that it is not possible for me to listen to Components and assume that Bobby Hutcherson played in that style for the rest of his career. A lot of guys coming up after Bags made a conscious decision NOT to cop his style. You are writing off a lot of great music by assuming that all everyone else was doing was executing either technically, rhythmically or experimentally. I personally cannot draw those lines. These are elements of music, but they can't singularly define someone's approach. I find it odd that vibists are more close-minded and decided about how the vibraphone should be played than other musicians/listeners are. All anyone ever talks about is Milt Jackson or Gary Burton and the guys who play in their styles. Come on Bruce! How about your buddy Sid? Don't you think he actually "plays" his instrument?

"We’re very proud because this man’s ancestors came out of slavery and he’s an international icon all over the world and America should be proud of him," he said. Great quote.