.:.impossible

My mom loves this: Its a good start.

I know how hard this must be. We are coming up on this inevitable event with two of our family dogs, one, a thirteen year old shih tzu who my wife has had since he was literally a handful, and the other, a toy poodle on her sixteenth year that lives with her parents. The shih tzu, "Marley", is suffering from glaucoma. The poodle, "Sadie", is deaf/blind, but still as sweet as can be. You can only prepare so much for the death of a loved one.

Damn. I still haven't heard any of this material! Thanks for reviving this thread.

I read this entire thread yesterday. It is funny how many times "East Coasting" and "Mingus Plays Piano" are mentioned. I hate that I don't own "Mingus Plays Piano".

Second.

Crystal Fire (Enja, same trio) is also recommended. Absolutely the WORST cover art in my collection. So much so that I have turned the booklet around so that the liner notes serve as the cover.

I was mostly referring to "Spring"...

Live at the Village Vanguard 1961. If you don't already own it, you really should go out now and buy the box set.

Yeah, I'm listening now. Its nice. I remembered being disappointed every time I played it, but this was a while ago for me. It doesn't feel overtly MINGUS. It has a happy-go-lucky swing feel to it, which I don't associate with Mingus. "It Might As Well Be Spring" would be a great blindfold track. I would have thought Herb Albert. Or Sergio Mendez. Or some obscure Brazilian date. I certainly would not have guessed Mingus. The way his bass is amplified, it takes so much of his personality out of his playing. And glistening electric piano?! French horn, electric piano, amplified double bass, drum kit. Odd in the grand scheme of things. I have a feeling my recollection of this album was based almost solely on "It Might As Well Be Spring"...

I have this album on Who's Who In Jazz called "Charlie Mingus - His Final Work" produced by Lionel Hampton. I am going to listen to it this afternoon. Does anyone else have this? I'd be interested to hear your opinions. Jack Walrath, Woody Shaw (trumpets) Ricky Ford (tenor) Paul Jeffrey (tenor, arranger) Gerry Mulligan (baritone) Bob Neloms (piano) Lionel Hampton (vibraphone) Charlie Mingus (bass) Dannie Richmond (drums) Peter Matt (french horn) NYC 1977

The Kinks don't really sound that much like other bands of the era either, nor does The Who. Both seemed to come out of the same "early rock" that The Beatles did, but really extrapolated on that from an early stage, no?

This has been an informative thread for me. I have never read much about The Beatles and I can tell that a few of you have really researched a lot. I assumed that a part of why they sounded different from other bands that came before them was a number of things already mentioned, and the fact that each of them brought their own style and tunes to the band, rather than having one primary songwriter. I don't know the ratio of Lennon to McCartney, Harrison, Starr tunes in their catalog, but I felt that had an impact. Also, that they didn't always stick to their "primary" instrument springs to mind. Would you consider these to be factors as well?

The picture that robviti posted of Brax on cbass sax shows the horn resting in a stand.

and loud.

That is hilarious.

I want one of those!!!

Posthumously, "Miles Davis Live at The Fillmore East (March 7,1970) It's About That Time" was released on Columbia Legacy...

I wrote him this morning. I'll let y'all know how it goes... I graduated from UNCW in 1999. I took classes in the "music" building. It wasn't much bigger than many peoples' homes, though those homes would have to be largely unfurnished in order to compare apples to apples. It was the emptiest of all of the buildings that I had classes in. There was nothing going on. There has been talk over the past few years to shift much of the UNC systems' arts resources to the Wilmington campus. I know they have renovated the concert hall on campus, but the music has remained *of a certain level* that I would not associate with Joe Chambers. I know there are folks that ARE interested in college big band recitals, but I'm not one of them. Jazz gigs seem to have become extinct around here, unless you consider a jam band playing Watermelon Man into Sissy Strut into groove jam a jazz gig. Charlie Hunter came through town a couple of years ago and played at a club. Stefon Harris played on campus. Wynton is playing on campus. There's an alto player duetting with a bassist while they watch tv and no one listens at the Holiday Inn Sunspree. That's it. Even if I don't end up spending time learning with Mr. Chambers, there is now hope that I can give the stereo a rest and go hear decent music at night. I am really inspired by the prospect of taking lessons with him though. I could use the guidance.

Yes. I will make sure to stay on top of gigs. I missed one already, though it was more of a University event. I don't think there is anyone in this town that can hang with Joe Chambers. I don't even know where to go for a real jazz gig anymore. Hopefully, that is about to change now that Joe is here. I did not realize that Helen More lived here in town. Was she originally from here? You know Percy Heath was born here... Thanks to everyone for stating the obvious. I guess I'm a bit star-struck. Yes, I am now shitting in the same sewer system as Joe Chambers.

Alright, so I having been playing vibraphone for a few years with no formal direction. I am nowhere near worthy of studying under Joe Chambers yet. What the hell am I supposed to do?!

Legendary jazz drummer Joe Chambers sets up shop at UNCW By John Staton, Staff Writer Published: Tuesday, October 14, 2008 at 9:10 a.m. Last Modified: Tuesday, October 14, 2008 at 6:10 p.m. When Joe Chambers hears a visitor admit he's not quite as knowledgeable about jazz as he might like to be, the renowned drummer, vibraphonist and composer launches into an insightful and fascinating mini-lecture on the history of the music. That's the teacher in this talented musician coming out, and it's a skill Chambers is getting to use a lot these days as the newly appointed Thomas S. Kenan Distinguished Professor of Jazz in UNCW's Department of Music. On Wednesday, Chambers will put his musical skills on public display in Wilmington for the first time when he plays the inaugural UNCW Jazz Speaks concert at the Beckwith Recital Hall with other members of the University of North Carolina Wilmington's jazz faculty. Chambers is known for his propulsive, tricky and highly creative drum rhythms, as well as for his proficiency on the vibes, and any show featuring him promises to be a top-notch event. A native Philadelphian, Chambers, 66, has spent most of his 45-year career in New York. Notably, he was a session musician for the legendary Blue Note label, playing and recording with some of the biggest names in jazz, including Wayne Shorter, McCoy Tyner, Chick Corea and Charles Mingus. A child of the ’50s, Chambers participated in track and football and played with a variety of marching, pep and dance bands in high school. He heard all kinds of music, including blues, R&B and rock ’n’ roll, but he was particularly attracted to the high level of musicianship he heard in jazz. “It grabs you,” Chambers said from his large, sparsely furnished office that’s dominated by a piano. “A lot of it’s very technical – ‘Oh, wow, geez, listen to that’ – you want to play like that. The sounds are different. they’re not your everyday run of the mill. You could hear the skill that was necessary.” He moved to New York in 1962 and almost immediately entered the "post-bop" jazz world, playing regular gigs, recording and touring with bands at jazz clubs in the Northeast, Midwest, West Coast and Europe. "I was doing all right," Chambers said. "Then the bottom fell out of that in the early '70s." But even with jazz losing listeners to popular music, Chambers continued to gig and tour. He played in the orchestra of the Broadway musical “Purlie” in 1970 and ’71 before finding his way into academia, teaching at The New School and City College of New York. A year or two ago, Chambers heard about the Kenan professorship from a former UNCW student living in New York. "I checked it out, applied and here I am," he said. It didn’t hurt that Chambers and his wife had been coming to North Carolina every summer for some time. (He has roots in Asheville, and his wife has family in Warren County.) Asked about his role at UNCW, Chambers chuckled and said, “I’m still tryin’ to find that out.” But he then allowed that he’s “here, obviously, to nurture, or give the jazz program a kick.” His position at UNCW is on a tenured track, so he could potentially be here for a while, "but we'll have to see how I feel, how it works out." Used to world-class New York students who come to school “primed (and) ready to impress – they think they might want to become jazz stars,” he’s still adjusting to UNCW and a position that’s more structured than what he’s used to. (“I’ve never gone through so much formalized paperwork,” he said.) He said he's excited about a number of promising students and is looking forward to establishing an exchange program with the Siena Jazz School in Rome, composing and performing and doing some occasional touring. And while Wilmington is certainly no New York, Chambers said there are perks to his new home. "It's nice to be in a place where people are civil," Chambers said. "In New York, you've got 10 million people all cramped up, everybody fighting for their space. Here, I tell you, I haven't had a rude encounter yet." John Staton: 343-2343 john.staton@starnewsonline.com

last night I saw fight the big bull play thriller, followed by a set of original material being worked on for a future release with steven bernstein.

How much? I've been loving Pandora via Squeezebox for a while now, as well as last.fm.

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