thedwork

okie doke (to be read as if spoken by Jim Ignatowski).

yup. all for mentioning satoko again. scary piano player. one of my earliest reviews (5 years ago) was of her Illusion Suite w/ Mark Dresser and Jim Black. if interested (please pardon my self-references - i've pretty much worked that out of my writing now ), see here: Illusion Suite

oh yeah! Nicki Parrott is a great, great bassist. i got to see her play every monday night for a year at the iridium backing up les paul. every night, and i mean every night, she outshone the material. great tone, feel, and always creative - even playing those same 15 tunes week after week after week. she should get some kind of award for that gig. not that they all aren't/weren't lucky to have it. i'm just sayin'. it was obvious from listening to her every week that she was one of the best bassist in the city and could play anything. way cool you guys know about her. whaddya know her from? as far as i know there's nothing recorded that shows half of what she's capable of.

haven't kept up w/ what she's doing for a while but i was definitely gonna list her as one of my favorite female jazz players. she's a fucking monster man! last i knew she was still playing regular w/ Kenny Barron, mike stern, and she had some big name touring gig w/ a pop artist - can't remeber who... ingrid jensen maria schneider geri allen susie ibarra emily remler!!!!!!!!!! and rebecca martin. she does singer/songwriter stuff too, but her jazz records are exceptional i think. the one she did w/ paul motian, and her earlier Middlehope is one of my favorite recordings ever. killer artist. a true storyteller w/ a real sweet quality to her voice, huge tone and great intonation, and big respect for the song and the moment.

hey van basten. i wanna try this but i'm obviously missing something very simple. what do i do when i get to that flickchart homepage? i've submitted my email address to 'join' (yesterday or the day before) but heard nothing further. is there something else i should be noticing there? i'm confused...

yup. the 'ultimate' remake: Van Sant's Psycho. totally ridiculous waste of time or interesting exercise? i thought it was a pretty cool idea myself. certainly an 'original' idea for a remake (where's the irony emoticon?).

what he said. i don't think this initial post in this thread is spam. this is mainly a jazz internet forum, right? this is the "artists" section of the forum, right? john scofield is a jazz artist, right? what's the problem? and as far as wanting this board to only be welcoming to "people who want to be part of the community long term" or some nonsense, gimme a break. it's the fucking internet. some people stay, some people float through. this person started a thread about a jazz musician on a jazz forum. nothing spammy about it.

yup. i got this quote from sarah silverman - who i believe to be a truly gifted comedian (don't know if she got the quote from somewhere else): "Deconstruction is the enemy of comedy." i think that's essentially sound. once you start trying to explain to someone why something is funny, even to yourself, forget it. it's over. not that i think it's a waste of time - just that laughing, and comedy in general, is very instinctual. you may be able to explain what the joke is to someone, and they might even understand it after you explain it. but if they didn't laugh the first time, i'll bet they won't laugh after an explanation. it reminds me of a woman i used to live with. we would watch tv or movies every once in a while. i would laugh, but she never would. she would occasionally say, "That's funny," but not actually laugh out loud. i always found that kinda sad. imagine going through life knowing something is funny (or at least funny to you) but never actually physically laugh. bummer. anyway, kaufman = brilliant. fucking unbelievable man.

sounds pretty good maressa. thanks for letting us know about that scofield track. also, i'm getting the feeling that if i was listening to this on a real speakers (ie: not my cheap computer speakers that came w/ the thing...) the drum sound on that track would be killer. sounds like they put some effort into that during the recording. and sco of course sounds great. not a scofield fan?

cool.

well... i just saw it. definitely completely avoidable. but for a freak like me who eats movies for breakfast and loves movies as much as i love music, it was worth seeing. a movie has to be a real offensive piece of shit for me to walk out. and this certainly was fun enough for me not to have been upset that i paid the price of the ticket. i knew what i was getting into. action, cliche, action, cliche, action, wisecrack, action, wisecrack, nyc cliche wisecrack, etc etc etc... i've really disliked much of travolta's stuff as of late (Broken Arrow, Swordfish, blech), but i thought he did a good enough job here. it was a johnny one note role but he was fine. as a matter of fact, all the roles were johnny one notes. but the actors involved are all so good that it held my attention. and it was fun for me to see Gandolfini working w/ Torturro after knowing they did Torturro's last film together (Romance And Cigarrettes!!!). what a complete 180 from that work. for me, the only complaint would be that Luiz Guzman, one of my favorire "character actors," was woefully under-utilized. and i could do without the over-the-top MTV Tony Scott crap - but that's him. oh well... bottom line, if you're totally jonesing to see a movie and you've seen everything else that's playing, this may still be worth it for ya'. as long as you know you're not seeing the next Hurlyburly.

I do like Nickel Creek, have one of their albums, and I like that they sound like fresh-faced kids. Another fave is Alison Krause, who I think produced the Nickel Creek album. Nickel Creek is fine, but as far as Thile is concerned, that's probably my least favorite stuff from him. his Punch Brothers group is awesome and his cd of duets w/ Edgar Meyer is as well. and i got to see him sit in w/ Mark O'Connor's group nearly every night for a week at The Iridium jazz club back in like 2004 or so. that was some of the most unbelievable shit i've ever seen. Thile schooled O'Connor, i kid you not. anyone that can burn O'Connor is from another planet. it was some of the best music i heard in that club the entire time i worked there. and i tend to like Krauss's Union Station stuff the best... but her version of "I'll Fly Away" w/ Gillian Welch is beautiful.

that sounds good. sounded to me like a smug swipe at bluegrass music. i'd've needed a little more to get the meaning you got from the two word 'don't matter' post in the context of this thread. but i'm weird that way... I was referring to the dilemma posed in the post before mine. It shouldn't be that hard to figure out. that's cool chuck. i didn't pick up on it. i'm so used to people quoting what they're responding to in their posts (so that it's clear) that it looked to me like your two word 'don't matter' post was a general statement toward this now general bluegrass thread. if what you're responding to isn't referenced at all in your own post, and all you write is a word or two, it can be confusing. bulletin boards can do that. thanks for clearing it up. and i'm of course glad that you don't have an 'attitude' toward bluegrass music. it's beautiful stuff man.

that sounds good. sounded to me like a smug swipe at bluegrass music. i'd've needed a little more to get the meaning you got from the two word 'don't matter' post in the context of this thread. but i'm weird that way...

i'll assume that's in reference to your own post. mjzee: cool that you bumped a bluegrass thread. i haven't heard the band you were asking about, but i've recently written two reviews that relate to bluegrass (one's a cd review, the other a 'bookazine' review'): The centerpiece of the bookazine is its piece on mandolin superhero Chris Thile by Seth Mnookin (author of "Feeding The Monster," "Hard News," and contributing editor at "Vanity Fair"). It’s a wide-ranging piece covering his precocious beginnings, time spent with the popular group Nickel Creek, marriage and divorce, and more recently his own more adventurous group The Punch Brothers. There’s also a bit of condensed history on the evolution of bluegrass. Thile and his friends Mark O’Connor, Bela Fleck, and Edgar Meyer (among others) have been steadily amassing an amazing body of work that rather organically, and at times dizzyingly, combines elements of bluegrass, jazz, and classical idioms. "Fourth Stream" anyone? Thile would argue that it’s all one stream really, and he’d be right. You’ll hear traditional bluegrass, Radiohead, and Steve Reich influences in The Punch Brothers. As is normally the case, there is a strong resistance to change. From Mnookin’s piece: “During a show at a folk festival in Scotland, a fan shouted out, 'Play some fucking bluegrass!' in the middle of a particularly quiet section of [Thile‘s original far-ranging composition] 'The Blind Leaving The Blind.'" This has shades of Bob Dylan’s hostile reception at the 1965 Newport Folk Festival (and subsequent shows) as some kind of folk music apostate for not playing the music more ‘purely.’ Chris Thile: Bluegrass Apostate. Mnookin also rightly draws a line connecting Thile and his fellow Nonesuch labelmate pianist Brad Mehldau for their eclectic influences (combining pop, classical, and jazz) and precocious talents. see full review here: No Depression Bookazine and the CD: In our current somewhat post-genre era, the best label one could grope for would be “newgrass singer/songwriter.” And that’d be pretty close... The most in the pocket bluegrass tunes on the CD are Jarosz’s originals “Mansinneedof” and “Fischer Store Road.” Both are high energy, bright and modern leaning instrumentals with room for the tradition of improvisation that runs deep through bluegrass. These tunes are somewhat in the vein of modern explorers like Thile, Bela Fleck, and Edgar Meyer. see full review here: Song Up In Her Head

agreed. she had a great supporting turn in one of my favorite films of all-time: The Apostle. she's terrifically convincing there. and i remember her being good in Altman's Dr. T And The Women as well, but it's been a very long time since i saw that one and i only saw it once. beautiful, beautiful woman. rest in peace.

well written review. makes me wish i'd been there. isn't Holden also a film critic? also solidifies my desire for Krall to return to her earlier set-up and play her piano more - like on her 1st recording. she's a real good straight-ahead piano player. and if she'd spent the last 10 years digging into that side of her musical personality, she'd be even that much better at it now. this other more orchestarted obviously market driven stuff is fine for what it is, but i don't enjoy it half as much as her just blowing on standards. and w/ Hurst in the group, you'd think everyone would know what a giant resource resource he is for that stuff. oh well...

didn't do much for me joel. sounds ok.

papsrus is da man! enjoy the day.

that's all great news phil. awesome! and you having Dodgion as lead alto... hello!!! doesn't get any better than that. can't wait to hear it. and that room looked like a cool space to record in. and the way you've got the band set up is a great way to go for blend.

very cool for you to join the discussion elijahwald. i was asked to choose from a list of books up for review for a print magazine/online zine i do a little writing for about a month or two back and yours was on the list. i put it on my request list as one i'd really like to get assigned but they gave me something else instead. too bad... i haven't read your Beatles book. i'm with everyone else here who thinks your book has a silly, intentionally polemic title. it may prevent me from ever reading it at all - and that's really too bad. whoever chose the title can say that's not what was intended (ie: relatively semantic rock vs. rock 'n roll distinction, yada yada...). but saying the title wasn't meant to be overly controversial or polemic leaves only two possibilities as far as i can tell: 1) someone's lying about their intent of the title; or 2) the person(s) actually didn't realize the title was inciteful and inflammatory and (insert other obvious words like the previous ones i've been using here) which means they're wildly oblivious to basically the entire pop music scene and its attitudes of the last 40 years. neither is a good possibility. that all being said, obviously you can't judge a book by its cover. but you can judge a cover by its cover. or... you can judge a cover on its own. or you can judge a... well, you know what i mean. everything i'm writing about here is about the title. there may be plenty of great stuff inside the actual book. too bad i'm not too interested on what's inside because of how it's presented from the outside. i'm rather obviously not the only person to have this reaction. it's a reality of human behavior. call me shallow: titles matter. there's waaaayyyyyyyyy too many books out there to waste time on something that's immediately offensive from it's cover. if i'd been reviewing it, however, it would have been a different story. maybe i'd be on this thread telling everyone to do their best to ignore the idiotic title and run out to read the best book ever written on the Beatles. oh well...

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that's hilarious. i love that it's scored w/ Alanis Morrisette and Cyndi Lauper. they somehow fit in w/ the video perfectly...

listening to The Black Saint And The Sinner Lady right now. he was a giant w/ a beautiful sound and will be missed. thanks for all the great music...