.:.impossible

We saw KILL BILL VOLUME ONE (or was it FUCK BUCK?) last night and found it a very entertaining film. Regarding the violence, I kept saying to my wife, "He is so OBSESSED with blood! What's the deal?!" Each scene became incrementally more comical until it finally reached the equivalent of slapstick. How could that be? Well, for one, the gore was so exagerated and unrealistic, that it seemed to affect everyone in the theatre in the same way by the end. Laughter. The anime was probably the most violent portion of the film in my mind. Absolutely shocking. More emotional than the actually filmed scenes, to me. Often, I wondered why such a self-parody? In hindsight, I still have this question. This isn't exactly tongue in cheek. KILL BILL VOLUME ONE is a lot of fun and a cinematic experience in and of itself and I will definitely go see KILL BILL VOLUME TWO, then rent the set and watch them back to back to soak in the entire experience, but I will still wish that Quentin Tarantino took himself more seriously. As Lon points out, the cinematography is gorgeous. The final fight scene is fantasy. Definitely not a disappointment to this household. And a quick ps to the 5,6,7,8's. You girls rock!

I greazed up this week fo' sho'. For the last five or six months, I've been listening a lot more intently to my b3 discs and taking note of what you fellas have to recommend. I just read through this thread in entirety and realized that I HAVE alot of shortening in my pantry if you know what I mean. On Thursday, I came across a VAT of five-day old grease. OOooOoooooooh boy. Jimmy McGriff & Horace Ott ELECTRIC FUNK is just plain dope. There ain't no car too long, no hub cap with too many spokes, no vinyl top with too much armor all, not interior too tricky for this shit. Jimmy Smith GOT MY MOJO WORKIN'/I'M A HOOTCHIE COOCHIE MAN Good people of United Organissimo House of Faith, I am here to tell you TODAY that I have SEEN THE LIGHT. I must confess, before now, my knowledge of Jimmy Smith was sinful. SINFUL! I am a changed man. I am a changed man. I have heard the master and I am coming home. I am telling you now, good people, I am walking the straight and narrow. YES! Can I get a KENNY BURRELL! Brother Jack McDuff DOWN HOME COOKIN' I have seen a greazier plate before, but you can't go wrong with an image like that! Recorded down in Memphis and the bass sounds so good. Claude, have mercy. Reuben Wilson LOVEBUG Lee Morgan? George Coleman? Damn. Some fine music here, but I find myself wishing they didn't try and work out those popular tunes. Stick to the sly! I'll listen to BLUE MODE and lick my fingers to the bone! Still looking for MOTHERSHIP and the PATTON SELECT. Groove on children. Groove on!

I'm not entirely familiar with Jimmy McGriff's career. This past week, I found ELECTRIC FUNK in a used bin along with a stack of other rare grooves. This is going to be at the top of that stack for a while. Not only is his playing exciting, the arrangements are unexpectedly more interesting than anything on any of the other discs I grabbed. Apparently, this session was poorly documented because the only two musicians credited are McGriff and an el. pianist named Horace Ott. Great music that I could imagine being applied to the filmwork of Quentin Tarrantino. Just saw Kill Bill Volume One last night.

Jimmy Smith GOT MY MOJO WORKIN'/HOOTCHIE COOTCHIE MAN is a killer.

I just picked up a bunch of rare grooves in a used bin last night. I don't know if these are counted as obscure to this group, but they are to me! McGriff & Ott plus unknown band ELECTRIC FUNK is highly recommend to all pee-imps currently posting at organissimo.org. Good lawd have mer-say!

What is this lost quintet stuff?!

I knew it wasn't a joke. Just making a face is all Chuck! SEE?

This was the first of Shorter's music outside of Miles' quintet that I ever heard. My brother gave me a copy for my birthday years ago. In college, I met an alto player named Benny Hill who lived in the projects about ten blocks from where I lived in Wilmington, NC. He would come over and we'd drink and shoot the shit and listen to music. He was always bringing up Kenny Garrett (Triology) and Dexter Gordon. Of course he was a Bird fan too. I would show him what I was listening to at the time and he'd always say something like, "You like all them underdogs. That's cool." I asked if he was a fan of Wayne Shorter. He knew Footprints (fakebook) so I played this disc for him, Adam's Apple, and he left me six Dexter Gordon CDs in exchange for it. He has since moved out of his mom's place on Princess and is studying for his masters in music somewhere in the midwest. I just patched that hole in my collection again with the RVG. Brought back some good memories. 502 Blues is such a great tune! This album I have a soft spot for.

Ahhh-yesa! This is the only organ/guitar/vibes/drums album I own. I love the palette and the textures! Downtempo, I wish the vibes were higher up in the mix.

I'll play. Horace Silver .:. IN PURSUIT OF THE 27TH MAN I don't have much Silver, and I don't really know why I bought this, but I sold it before the 24th hour! Lee Morgan .:. DELIGHTFULEE I still have this because a lot of people seem to like it. I don't know what to do with it. I'm not listening to it, but I'm not ready to get rid of it yet either. What's with the Lennon/McCartney arrangement? McCoy Tyner .:. THE REAL McCOY I listened to this a few weeks ago. It never sounds good to me. None of it. I'm not so sure that I dig Tyner's concept... with Coltrane it seems to be a different story altogether. Stanley Turrentine .:. COMMON TOUCH Whoa. I really wasn't ready for that.

First impressions of Faux-Jumeaux. This is a really cool disc. Some of the classical ears may not dig it as much as a novice like myself, knowing more about the influences of this music than I do. Then again, I've never been too involved with the genre-identification thing anyway. I am a huge fan of the tones brought out of the vibraphone and the relationship between the vibraphone and other instruments. This is a wonderful exploration of these relationships, along with an exploration in a sort of Burroughs/Gysin THE THIRD MIND musical approach. During playback, the composer has experimented with sampling the actual recording, blending sequences in with the original recording. Sometimes what would be best described as a "dub" effect, though this music has nothing to do with its reggae counterpart, the sampling and sequencing adds even more depth to solid, mobile compositions. It is amazing that the composer was, and still is actually, in his early twenties! He has included some "field recordings" as well. Footsteps, insects, etc. My wife walked during one composition and exclaimed "HAUNTED HOUSE MUSIC!" Why is it that so much of the creative music in my collection can fit in this category? Other than one of the compositions, the rest of the disc is hardly "haunted house music." It is quite beautiful in fact. Definitely recommended. If not Pierre-Yves Mace's debut, I do recommend that you keep an ear out for future releases. In the same delivery, I recieved Walt Dickerson/Sun Ra VISIONS. I am in vibes heaven.

No shit! That really would have been something! Slightly on-topic, have the tapes with Wes Montgomery and the Quartet surfaced anywhere? I am very curious to hear what that was like. Wes seems an unlikely candidate to me, but I may be wrong.

Congrats David. Very handsome. I admit, I did catch a bit of the Access Hollywood piece, so I have probably seen most of the much anticipated photos already, including some EXCLUSIVE Access Hollywood footage. Free For All, you had me laugh out loud there! Nice jab.

I think Black Monday from ANDREW! could definitely come into its own as a modern standard. I nominate Black Monday be included in your Best of collection. My second recommendation will be Ghetto Lights from the Bobby Hutcherson album DIALOGUE. Both are great examples of an Andrew Hill composition with a memorable head. I will have to dig into the CD shelves for more recommendations. For now, off the top of my head, these two I nominate. P.S. I'm sure we can come up with a better cover than these Time Life Series!

I like the "October Listening" type of thread for the reasons that Ed mentions. I just think it is silly to have both. What you just listened to is still a part of October Listening. I always listed the disc that I was currently listening to when posting in the monthly thread. Anyway, I was just goofing around.

Good ones! I'm thinking we might be able to extend this idea outside of music even. One thread: October Heart Rates And the companion: What is your heart rate right now?

Is it just me, or does anyone else think it is silly to have an "October Listening" thread and a "What Are You Listening To Right Now?" thread? Just had to say something... please, carry on.

I can't remember. Whatever it was, it had a slipcover that is now long gone.

I still haven't picked up Jason Moran MODERNISTIC because it is always in the $18.99 price range! BANDWAGON was not. I don't understand...

I'm glad to see so much interest in this recording. We all have a little over a month before discussion officially begins. I'm anticipating a fairly thoughtful discussion with some added insight from those active in the recent "Chicago scene" thread. Hopefully, a few members unfamiliar with this music will make the dive and provide a fresh viewpoint as well!

I have been chosen by Jacknife for AOW November 9-15. I want to give everyone plenty of time to locate their copy of this album. For those who do not own a copy, this album is in-print as part of the NESSA catalog. We all know where to find a copy I believe! I'm really looking forward to discussing this music with y'all and thank Jacknife for putting me on the list. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. AIR Air Time Nessa ncd-12 Recorded November 17 and 18, 1977 Produced by Chuck Nessa Henry Threadgill (alto saxophone, tenor saxophone, flute, bass flute, hubkaphone) Fred Hopkins (bass) Steve McCall (percussion) .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. .:. edit: added image

I am going to order this. I will let everyone know what I think of it. From AMG, Thom Yurek: Pierre Yves-Mace is a remarkably young (born in 1980) French composer. Faux-Jumeaux is his first release, though he has been on the scene for sometime as pro-rock improviser, and as the composer of many works for theater and film. All of Mace's works are for small ensembles that employ myriad percussion instruments -- vibes, cymbals, gongs, chimes, etc., as well as harp, flute, saxophones, and pianos. The first offering here, "Evocation," is based on the notion of distorting acoustics sounds that, by their very nature, are distorted anyway. Here a harp floats above a trio of gongs and chimes, bells and vibes before being run through a sampler and mirrored back on themselves in sometimes actual,, sometimes random, sequence. The dynamic range is spectacular in that as the more structurally beautiful sounds interact with the sampler, they can explode into fits of near chaos, but never become harsh or cold. On "Defense de Voir Au-dedans," Mace employs a cello to very gradually ease the work in, lulling the listener into its spare but rich tapestry of colors; three-fourths of the way through, a rupture happens, boring out the cello's heretofore necessary appearance and replacing it with dissonance, fragments of structure, and seemingly free improvisation. The piece picks its way through again and changes with the help of the marimba, flute, and piano, and moves into the margins once more, where sound and silence entwine, adroitly offering space, texture, and serenity, despite the tag ends of each measure. This is a very auspicious debut by somebody who knows what it is he wants and pleases us to no end.

Some great recommendations coming to the surface on this thread. Thanks for the info Late. I am a huge fan of GHOST OF ELECTRICITY. I will have to check out WHAT COMES BEFORE. Thank you for the follow-up. I have to ask, as this one has been on my mind for some time. Does anyone have any opinion on: Pierre-Yves Mace: Faux-Jumeaux Herve Trovel: marimba Valerie Kajelnikov: harp Ingrid Kuntzmann: cello Pierre-Yves Mace: vibraphone, samples, piano, treatments, glockenspiel, marimbas Luc Leroy: cymbals, gongs, bells, chimes, vibraphone, marimba Yann Mace: cymbals, gongs, bells, chimes, marimba editing Arthur Gordon: cymbals, gongs, bells, chimes Sylvain Kassap: clarinets, soprano saxophone, bass clarinet Dan Warburton: piano Stephanie Chatet: flute From TZADIK: Four startling studio compositions by an extraordinary young French composer. Born in 1980, Pierre Yves-Macé began as an improviser, played in jazz-rock prog bands, studied classically, accompanied dance classes and has composed electronic music for theater, dance and the martial arts. Faux-Jumeaux, his first CD release, brings the aesthetics of French romanticism into a head-on collision with sampling technology, electro-acoustics and minimalism. A lyrical, adventurous mix of styles and sounds, this is an astounding debut recording by a strange and wonderful new musical mind. Sounds interesting!

Man, that is a creepy story Agent. Do you live in a small town? I am having trouble imagining the scenario without thinking the guy was a creep!