.:.impossible

Thanks for bringing this back up RT! I had forgotten all about this. So the benefit doesn't have to be about a tombstone anymore. As I read this, I understand that that is not really the issue though. Too bad it didn't work out. I thought this was a superb idea. -_-

I agree. I was actually considering including a cut or two from my collection that I don't necessarily understand the attraction. Get a different point of view from 30+ others. Obviously, everything included in these blindfold tests, because of the audience, is going to be at least tangential to jazz, but I don't think we really need to govern this thing.

Congratulations again on the little b-3er Jim!

Why so many rules? It's a blindfold test. It's supposed to be fun! I've listened to Jim's 1st disc a few times, so I imagine this conversation is spurred by something on disc 2. Oh the controversy. ps As long as no one puts a Charlie Parker re-mix on the blindfold test, I a say anything goes! a joke.

Its not dead, but it IS permanent. No flick of the wrist is going to change what Charlie Parker did, nor is it going to improve upon it. Charlie Parker was working outside of the restrictions of HIS time. When I say sacred, I mean please don't fuck with it. Now why are you going to go and fuck with Charlie Parker? It wasn't good enough for you? You are lessening the music this person made by assuming that it isn't enough IN ITS OWN STATE for your generation. I understand that turntablism is ALL ABOUT breaking rules, and I say GO BREAK THE RULES. I still don't see any reason to go to Charlie Parker to break the rules. Isn't that too obvious? Let's sample the Velvet Underground, or Pet Sounds. That'll get some press. I say COLLABORATE. Make music with others! That includes alto saxophonists. And alto saxophonists that emulate Charlie Parker even! I'm no moldy fig, I'm saying BE MORE CREATIVE.

That is some funny shit! errr, Arrrgh.

I own a single disc issue of INTUITION. Other than this, I don't think I've heard any other Warne Marsh OR Lennie Tristano. I remember being more interested in Warne than Lennie, but fascinated by both. This is a disc that, when I do pull it out to play, I play it all week long. What is Lennie Tristano credited for? What was his main focus in music? He seems to be a very seminal figure in many jazz histories. Hopefully, I will read Larry's essay one of these days. In the meantime, can anyone just touch on what they find unique about Tristano, the musician. Thanks.

Oh yeah! I recall a conversation between Nessa and Sangrey a few months back regarding a live recording of Bird with a BIG Sid Catlett drum solo. I can't wait to hear that! The whole story is what legends are made of. I think Big Sid Catlett was a contemporary of Jo Jones (not Philly), Gus Johnson, Krupa, Chick Webb, et al, or in that age group anyway. I'm not familiar with the other two.

Thanks John. I guess we're the real Goth crowd, eh?

The Red Norvo Trio with Tal Farlow and Charles Mingus Savoy sessions were recorded in the wee-1950s. That is a pretty popular and unusual trio preceding the Rollins date.

Whose musical ideas are we talking about here? What are they trying to present? I guess I was just against this before it even happened. I have decided that I won't support it, based on the very premise it was made on. Charlie Parker is one of the great innovators of the 20th Century, no the entire f'ing history of music. Of course it makes sense to manipulate his recordings. Sure, he'd love it. I'm sure Mingus would love it too. If Bird was a gunslinger... ROOSTER asks: If Greg Osby handed over the multi-track source tapes of a new recording of his own making, and had these remixologists do their thing, some of the results might be pretty interesting (and some would be crap). What's so intrinsically wrong with going back to earlier source material?? Or are we engaging in 'idolatry' over these Charlie Parker sides?? .:. The main difference I see in this scenario is that Greg Osby handed over the tapes. This I have no problem with. In this scenario, it is an artistic decision that Greg Osby made. I would be into that. I'm sure the results might be pretty interesting if I took a Kenny G recording and cut it up too. That is the beauty of turntablism. You can take the mundane and make it something exceptional by breathing a real, electric energy into it. Of course, I can't think of anyone who would make a Kenny G remix album. That might be too much respect. I've never heard anyone take the exceptional and make it better. I personally don't think it can be done. There is nothing better than a Charlie Parker lick IN CONTEXT. Hey, I might like some of it if I heard it, but I'm not even curious. Now, if someone were to throw some Bird into a live performance, that is a different story. On a side note, I think hip hop needs more live instrumentation. More interaction between musician and MC. DJs have advanced beyond belief, yet MCs are still laying into straight up samples and popular song remixes. I know there were have been some valiant efforts at this, but I haven't heard anything in a while. You want to bring jazz into the lives of our pop culture? A Charlie Parker remix project probably isn't even on the radar. Employ real, live musicians who are out there cutting their teeth every night. Bring the music back. Whatever happened to live interaction? [/ramble]

In my opinion, these are the types of threads that cause the tapestry to unravel. I have a hard time understanding how situations like this can become such a real dilemma with others. To use a phrase I hear often in New England, "I can't be bothered."

Steamboat Switzerland sounds promising! I followed the link and came up with a few mp3s. I am listening to a very minimalist piece right now. Sort of a Sigur Ros, or maybe a modern classical sound. My wife just called it "halloween music again." Back on task: Does anyone know the source of the name Die Like a Dog? There seems to be a recurring theme with dogs and rats. Any ideas?

I am a fan of turntablism, whether its textural, whether its a scratch contest, or its someone like Kid Koala stringing together a trumpet solo, or an entire bassline, out of a crate. Hear "Drunk Trumpet" if you are curious. Click here. Go to Drunk Trumpet. I would think most turntablists would have more respect than this. Some things are sacred. Some things should not be manipulated. Charlie Parker recordings are on that list for me. Same goes for Monk. What are they trying to present here?

I've never heard of sharingthegroove.com. I'll have to check it out. Sounds too good to be true (Wes/Coltrane)!

Same here. I really started delving into jazz music about five years ago. For the past almost two years now, my perception of music has been less serious. I realized again that even pop music can have redeeming qualities. Pop is just one example of course. Another thing I realized was all the good rock music I missed out on. I've still got decades to check out, entire decades, including the ones I've lived through. Someone I've really grown to admire greatly is Jeff Tweedy. His affiliations are incredible. There's a lot of great music out there, that's for sure. Ain't all of it jazz.

Slow down Rooster. You can order a copy directly from Chuck Nessa. I'd recommend it. Snurdy McGurdy is a highlight of my collection, much less 2003.

Peter, I received this for free through BMG and I'm upset that I used one of my free CD picks on it. It makes my skin crawl. And all that production... Can you talk a little bit about what you like about it. Maybe I can listen again with certain positive elements in mind. Thanks.

That is a good suggestion. Maybe I will have the strap replaced with a chain, if that's possible. The strap was a thin strip of leather, a thin strip of nylon, and another thin strip of leather. The problem that I've had with the DW's and other pedals is they seem to have too much bounce. Often, I get a flutter out of the thing rather than a kick.

My suggestion is to go to a store with a fairly large inventory and test out pedals (and you should be sitting when testing the pedals. ) It works best if you can hook up the pedal you're checking out to a bass drum. Do I sense sarcasm? If not, thanks for the advice. I like many of the UFIP cymbals I have played. A couple of friends and I used to swap cymbals back and forth, so we'd always have a decent variety circulating. Right now all I have up here in Rhode Island is this HUGE, dark, droning Zildjian ride. In large black cursive magic marker, it reads "Sold J Black." It is a terrible cymbal, but I like it for some reason!

I could use some suggestions on a bass drum pedal. I've been using the same old "no-name" pedal for the past few years and the nylon strap finally snapped last week. I'd bet the pedal is from the early 70s probably. I've played some of the DW5000 pedals, but there are so many options! Any suggestions?

ps I think its high time I revisit Love Cry Want.

I think this is a killer session that only solidifies as the sequence progresses. I love to listen to this in my car at high volume. I was a little shocked the first time through "Mothership," the title track. Lee Morgan's solo seems a little weak to me. He comes out of Herbert Morgan's solo with a mimic and seems to lose his momentum and eventually his confidence. I'm not a musician, so I could be missing something, but the tune loses some steam when Lee plays there. Again, I am loving this session! I want more Larry Young.

I had a bloody mary while supervising the turkey-fry, followed by a glass of Gumdale Merlot with the meal, followed by a couple of Yuenglings while learning Madden 2004 on PS2, a couple of Miller Lites, a game of 8 ball, and a game of dirty cricket. I think I like video games. Happy Thanksgiving everyone. A good day it was.

Elvin Jones