.:.impossible

Just so you know, I am on beef's side, but I think you should have both. Hey, I wonder what moose meat tastes like?

Without getting too involved in this thing , I am on Chuck's side.

¿que?

Almost a household name at this point, but I always thought "The Flaming Lips" was an interesting band name. Pretty Girls Make Graves is an awesome name. Yes, named after The Smiths' song. They rock. Neutral Milk Hotel is also a good one.

tonym reminds me of another that I remember liking very much. I am going to pull it out this evening. MARTY EHRLICH, PETER ERSKINE, MICHAEL FORMANEK | Enja | November 1999

This is one of my favorite combinations as well. Knowing your taste, and having a sense of what you already own, one of my favorites that most people don't seem to have in their collection is THE FRINGE .:. Its Time for the Fringe | Soul Note | April 1992 George Garzone (reeds), John Lockwood (bass), Bob Gullotti (drums). This was recorded live during the Rodney King riots. All three of these musicians have a great command over their instruments and play extremely well together. I have the good fortune of being able to go watch Gullotti work the drum kit every Tuesday night here in Providence, RI. I don't see his name too often, but he's the most impressive drummer I have seen in person yet. All Music lists this as "fusion." I have no idea where they came up with that label, so don't let it fool you. This is NOT "fusion." Another of my favorites that can stand to be recommended one more time is WILLIAM PARKER TRIO .:. Painter's Spring | Thirsty Ear | June 2000 Daniel Carter (reeds), William Parker (bass), Hamid Drake (drums).

Very cool. Thanks again Chuck. I'm sure there are some wonderful moments in the outtakes. Thanks for everyone's comments on this session.

Shawn! You've landed! You aren't too far from Snowshoe or Canaan, are you? Do you ski? Good to see your name again.

Was that you that voted against, Big Al?! I wasn't paying attention to who posted what. I'm just glad I wasn't the guy who proposed "Laura!"

No. Its not rare at all. I'm sure its the same in the UK. It is rare for someone to have the initiative to have their very own unique t-shirt printed. That's all. It isn't difficult to find a screen print shop. This is probably a USA phenomenon. A store called Urban Outfitters. They basically reprint t-shirts that read "Don't Mess With Texas" or "Jesus Yellow on green with an outline of the state boundary. T-shirt sells for just under $20. You can buy an authentic CBGB t-shirt for the same price, plus it is already worn in! If you are interested in iron-ons, you are going to have to find an underground source, or you can buy a kit to print out on your desktop HP printer. Here's a great Urban Outfitters t. As seen on Sabado Night Live worn by Justin Timberlake. Also seen on Punk'd worn by, yes, I believe so, Brittany Spears. $20? Sorry. My price is $28. This ain't ebay, sucka. Oh, by the way... Jesus is my homeboy.

I had to take stabs at a few of these... look at the list for gosh sake! I meant to type "Jimmy Smith" beside Organ Grinders. Its not important anyway. What's important is that Organissimo start working on MOONTRANE! I can't think of any grander gesture from a band. Has this been done before? This is way better than a "regular album!"

Jim writes: Now what I'd like to get some opinion on from you, Larry (or Chuck, or anybody, for that matter) is why such rigid standardization doesn't seem to have taken place in Chicago. Surely back in the day the bar was high, and cats like Von must have had their ways to test new cats out to see if they were for real or not, but there seems to have been a greater tolerance for true individuality. In fact, it seems like Chicago has always been a nurturer of great individualists, going back to Pee Wee Russell. Possibly even earlier, I don't know. Konitz was a Chicagoan, right? Chuck spoke elsewhere about Von actively encouraging the AACM crew in their earlier days. Contrast that w/the outright hostility that the "New Thing" players met in NYC, Trane being a notable exception. Sure, some were true amateurs, but in no way were all of them such. Why do you think this to be so? Surely there's the same competition for gigs in Chicago as in New York, so the whole "jealousy" angle can be ruled out, I'd think. And I'm struck by the irony of Chicagoan Farrell perhaps being the progenitor of the "New York" school of tenor playing. Even if his ultimate approach was somewhat a codification of Trane, at least HE came up with it. The Chicago individualism stikes again, even when being overtly influenced! I just read this yesterday, so I thought I'd share. I am still looking forward to hearing from Larry and Chuck on this. "The Experimental Band didn't play in public. Instead, it rehearsed continually at the Abraham Lincoln Center, one of Chicago's oldest settlement houses; jazz was truly unwelcome in Chicago's nightclubs by the mid-sixties. It was in the midst of this high creative activity and unpromising circumstances that four of the most experienced modernists--Abrams, Cohran, drummer Steve McCall, pianist Jodie Christian--initiated a do-it-yourself cooperative to produce concerts and invited everyone who had played in the Experimental Band to join them." - THE FREEDOM PRINCIPLE, John Litweiler, p173. That was 1965. "Musically and socially the AACM was proving a success. The AACM school began in 1969; member musicians gave classes and tutored inner-city students, even found instruments for them to play; at times as many as fifty young musicians were enrolled." - p183. "...one by one the earlier Chicago generations abandoned the AACM's home city. New York, especially, was where these musicians settled, for New York audiences had been highly responsive to the new Chicago jazz ever since the Braxton trio and McCall returned to America and gave concerts, adding Abrams and bassist Richard Davis, in May 1970." -p193. All of this is from the chapter "Chicago, Sound in Space, and St. Louis." What I took away from this chapter was that these Chicagoans created their own form of musical expression in a microcosm. Any opportunities that arose in Chicago in the late 1960s were created by these musicians. In a sense, they were almost starting from scratch. As I understand it, the scene in NYC had a lot more heritage and a much larger audience, including critics. There was the established school of jazz, and the "new wave" and the press that documented the differences, good or bad. The Experimental Band, the AACM had no press in Chicago to answer to? These musicians had no elders to prove themselves to? The elders might have been supportive because they saw any action in music as progress! It wasn't until the 1970s that Von Freeman began leading his own recording dates! Same goes for Fred Anderson, and it wasn't until the late 1970s at that. All this and none of the musicians could find anything in Chicago. For the most part, they took their developments elsewhere. From my limited knowledge of this subject, it almost seems like this new generation of musicians not only created opportunity for themselves, but for a previous generation that was practically ignored by their own city, AND a group of musicians in the neighboring St. Louis! I don't know, but I am fascinated. I am enjoying reading this thread unravel and hope the questions continue to surface. Answers too, if anyone's got 'em!

I usually use "View New Posts." If that doesn't bring up what I am looking for, I'll do "Todays Active Topics." Why? Its what I've always done.

votes title composer or performer 7 The Ghetto Walk Miles Davis 6 Moontrane Woody Shaw 4 How Soon Is Now The Smiths 2 Brazil Barrasso, Russell 2 Ape Woman Lalo Schiffrin 2 Whiskey Drinkin Woman Lou Donaldson -1 Laura Mercer/Raskin Punjab Joe Henderson x Organ Grinders Swing Big John Patton Along Came John Big John Patton Congo Chant Fathead? Patton? Space Is the Place Sun ra x Tyrone (Young's Dream) Larry Young x The Yodel Big John Patton, Grant Green Idle Moments Grant Green The Sermon Jimmy Smith Impressions John Coltrane Somebody's Been Cuttin In On My Groove Wayne Cochran & The CC Riders Message From A Black Man The Temptations Stompin at the Savoy Benny Goodman Just a Gigalo/I Ain't Got Nobody Louis Prima Sing Sing Sing Louis Prima Oops I Did It Again Britney Spears? Lazy Afternoon Latouche/Morrose The Holy Land Fathead One Mint Julep Toombs Emergency Tony Williams? Kool and the Gang? Gibraltar Freddie Hubbard? Band Of Gold Frieda Payne Endangered Species Parliament No Quarter Led Zepellin Fairies Wear Boots Black Sabbath Zoot Allures tune Frank Zappa More Today Than Yesterday Spiral Staircase Jeannine Duke Pearson x Tenderly Gross/Lawrence x LeeAnn Groove Holmes Dem New York Dues Don Patterson x Mellow Mood Ellington? Marley? Deuces Wild Sonny Stitt, Don Patterson Chitlins Con Carne Kenny Burrell The Champ Jimmy Smith Blues Part 4 Jimmy Smith Planet Rock Afrika Bambaata Webb City Bud Powell Ritha Larry Young Wise One John Coltrane Love Drops Larry Young Caravan Juan Tizol A Night In Tunisia Gillespie Round Midnight Monk Wig Blues Lou Donaldson Who's Makin Love Lou Donaldson Ornithology Charlie Parker Sentimental Journey Les Brown Love Walked In Gershwin A Spoonful of Sugar Sherman/Sherman Root Down Jimmy Smith Alligator Boogaloo Lou Donaldson Midnight Creeper Lou Donaldson Last Train Home Pat Metheny x denotes song already in repertoire. -1 denotes one vote for and one vote against

Can I get a "HELLYEAH!" ??? Its about damn time. I think that INDESTRUCTIBLE! t-shirt is amazing. I love typography. Unity is great, but INDESTRUCTIBLE is, well, HELL YEAH!

Now that we're approaching the end of the week, I wanted to thank everyone who posted their thoughts on this album. As usual, some interesting tangents were explored, which is what makes discussions like this so wonderful. Chuck, I was hoping you might offer some recollections of the session and your impression on some of the thoughts presented here. Where do you think this recording fits into AIR's discography? Where do you think this recording fits into the NESSA catalog? The personality of Henry Threadgill was touched on earlier in the discussion, and we know that Steve McCall payed much attention to the tuning of his drum kit, but not much has been said about Fred Hopkins. Could you maybe talk about your memories of Fred Hopkins? He was such a powerful bassist. What was HE like? Thanks again to everyone. Thanks again to Chuck. edit: Thanks David.

I was going to make the same recommendations that Joe Christmas and Late made. Joe McPhee .:. Tenor & Fallen Angels Joe McPhee .:. As Serious As Your Life Evan Parker .:. Lines Burnt In Light These are amazing.

Put a deadline on recommendations. Once the deadline is up, I can compile the list of recommendations for you. Any tunes you are unfamiliar with, but curious about, let me (or the board) know and we will put a few cdrs together, so each of you has one. Once you have listened to the disc a few times each, and together, you will know which tunes you are most interested in, and which tunes to cut. Then its TIME FOR ORGANISSIMO TO GO TO WORK! Man, this is going to be fun (FOR US! ) If anyone has a better idea on how to organize this effort, bring it out.

That 's three for "The Ghetto Walk." Can I get a fourth?! B)

I second "Moontrane." How about "The Ghetto Walk" from the IN A SILENT WAY SESSIONS? I want to hear Joe G up in that!

You guys mind filling us in on what you are talking about?

I dig it Al. I imagine its origin in Gamelan or Kulintang music, tons of attack with little resonance.. Melodic percussion. My limited exposure to AIR leads me to believe there was a serious interest in tuned percussion. Listening to McCall's drum parts is really all I have to back that up, but I'd bet those drums were carefully tuned. I will agree that the name of the instrument is silly though! "I'll Be Right Here Waiting" is wonderful.

I haven't listened to this album in a couple of years. In total, I think I've tried it three times. I didn't know the name Nessa back then either. Now that you've brought this music up Tony, I think it is time I bring it back out. I remember hearing the vocals for the first time and thinking Ummagumma! I know my wife won't appreciate this one, so I'll have to time it well...

Well, I can't figure out how to "pin" this topic, so I'll just let the discussion officially begin two days late. It has been quite some time since I first announced AIR TIME as the AOW for this week. I'm sure that everyone who intends on participating has secured their copy by now and has spun this music with a heightened ear. We've been touching on this one for a while now, so let's get started. .:. I remember sending Chuck an email back in March, requesting a copy of Snurdy McGurdy and Her Dancing Shoes and a selection of his choice to give my brother for his birthday. Once Chuck discovered that my brother is a bass player, his selection was made. Of course, I made a duplicate order for myself! Can’t send somebody something I don’t know nothin’ about! My purchase was made entirely on blind faith. I was very excited to see the word AIR when the package arrived. My friend Al Jones had recommended this recording to me on previous occasion. I had heard Air Show #1 through Vint Gonser, along with a compiled list of Threadgill performances. I knew that this was one of the areas of music that I would eventually explore in depth. As a whole, Chicago is still one of these areas that I feel will eventually envelope my listening for a long phase. Now, it goes without saying that I am no expert on Air, Threadgill, Hopkins, McCall, the AACM, Chicago music, jazz music, Chicago jazz music, Chicago jazz music from the late seventies, the Nessa catalog, saxophonists, bassists, drummers, or anything really for that matter. I am purely intrigued by sound and the emotions conveyed by a musician or group of musicians. I have never seen or heard any of these musicians in person. I know there are people here who are some of the above. People that lived and breathed this music when it was happening. I know there are people here who were around the jazz scene in the seventies and the years before who may have had no interest in this type of music. I hope to hear from all of you. Presently, I know of two improvisational albums that seem to fit right into my life as if they were always there, waiting for me to press play. AIR TIME and DIVINE GEMINI, the Walt Dickerson/Richard Davis duets. Both just seem to define my surroundings, regardless of my mood, when I play them. I think that is rare in music to find something that always just fits. I find it important to note just how widely trained and musically experienced Henry Threadgill is when listening to Air and the rough and variable tone with which he plays. As I understand it, he played clarinet at the American Conservatory of Music, saxophone in blues bands, polka bands, marching bands. You name it. He has absorbed the musics of other people and has chosen to create something all his own. Something I can associate with sound as much as I can with music. It should also be noted that this trio was originally formed to perform the compositions of Scott Joplin during live avant-garde theatre performances. The result? A reeds, bass, drums trio dancing through solo piano rag music during avant-garde theatrical performance, finding new devices to best relate its instrumentation and limitations to the original musical score. I imagine, in this musical setting, it was more obvious where the composition ended and the improvisation began! Chuck chose this album for me on the premise that it was a gift for a bassist. I wonder. If I had told him my brother was a drummer, would he have chosen the same. A reeds player? I sure as hell don’t see why not. There is NO obvious bandleader here. There is no dominant voice. There is no weakness. Not a moment. This group moves together with such force. I love the quiet sections. I love the more chaotic sections. This music, the rhythm section in particular, is so much my style. I cannot tell you how many times I have listened to this recording since receiving it in March of this year. I want to thank you again Chuck for introducing this music to me. I also want to thank you for your continuing efforts to document what you feel is important. So, what does everyone else think of the music? I’m really excited to hear your responses! Thanks guys.