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Fantastic news! Definitely a MUST have, even if I already have the Columbia/Very Very Circus stuff..

Going to check out Mike Allemana (my favorite local guitarist) and his group Come Sunday at noon, then Mike with Von a little later on. Unfortunately, due to prior commitments, can't stay for the night events.

I thought it was funny that there was a person up there giving live sign language interpretations of the music, not just lyrics (there weren't any!), not just music, but free/atonal jazz. At times, she was feigning playing a piano, the other times, trombone and sax. What did she do when they started playing loops off the Apple Mac Book Pro? Bizarre! As my friend joked next to me, "This is the A.D.A. run amok and unchecked!"

Yeah, I read the Chinen piece in the NYTimes, good article. On point. Take dat! Mingus released an entire album dedicated to telling the European classical musicians a *what for*, i.e., we don't need to kiss your fuckin ass or get your seal of approval. It was called *Let My Children Hear Music*. Did anybody mention that the author of that article writes for the National Review, apparently? Probably doesn't get out to Brooklyn, much (unless he already lives in Park Slope or somewhere like that).

Very interesting. I'll have to check out this one. I've always overlooked it. Thanks, everyone.

An apt description. I have Monk's Casino. And it is just like you described it. Come to think of it, that also describes Monk's music, too.

I bought her two CDs (they were on sale on Amazon for like $8 each), nice purchase, decent arrangements, good tunes. I think she has more substance, bite and thickness in her voice than Norah Jones, whose voice is just plain ol' thin and brittle.

That was nice. Thanks for sharing.

Very sad to hear that he did not come through and survive his illness. He was an excellent musician, and those Soft Machine records are all classics. RIP, Hugh.

Very true about the equilibrium between tunes you love and the tunes you know. It will truly be heaven. Right now, though, I'm just trying to work through learning Tin Pan Alley tunes (Autumn Leaves, Moonlight in VT, et al). I have found that the heads on many of these are pretty easy and of course, memorable. The changes? A lot more than many 60s era modal jazz tunes, that's for sure!

Man, that is a great list. Every single one of those is a standard par excellance, for sure and well worth learning. The thing about standards, from my point of view, is that I tend to biforcate them into two types: 1. Tin Pan alley/show tunes 2. Jazz tunes composed by genuine jazz musicians Most of those you have listed are in category #1, which are composed by the Kerns, Gershwins, Porters, Arlens of the world. These are the first types a student should first start to shed on. The 2nd type are tunes composed by the Monks, Herbie Hancocks, Wayne Shorters, Horace Silvers of the world. Maybe someone like Ellington straddles both categories.

This is a killer set. Mosaic has been on fire in the past few years.

I remember hearing much of this music after the fact, in the early to mid 80s, when I was in junior high and high school. I remember when Discipline came out, and my impression was, well, whatever. Sounds pretty contemporary, New Wave, Talking Heads like. Thankfully, I met some older people who actually were listening to this music in the 70s and not eating paste and/or riding Big Wheels and playing with Evel Knievels who said, *No, no, no, you don't want to listen to this. Let me tell you about the guy in the bear rug who banged on chains and bit into blood pellets. Man, that stuff, to 80s ears, totally blew my mind. It was practically from outer space, from Mars, as far as I was concerned. And it seemed so ridiculously non-commercial. I mean really, *Relayer* went platinum. Tubular Bells multi-platinum. Are you kidding? How was this possible? Impossible, I maintained at the time. Of course, at the time Yes/Asia/Genesis were putting out schlock, and King Crimson was trying to be more hip/relevant/new wavish than musical. Nay, Genesis had stopped putting out music alltogether, and was more into vying for market share with the Lionel Richies of the world. It's like they all became embarrassed that they were good musicians at one time, who were more than competent on their instruments. One of the 1st fusion (or apparently, seemingly fusion) albums I bought in the 80s after getting hip to Bitches Brew was the Chick Corea Electrik Band. Man, what a piece of commercial P.O.S. that was. But all of it lead me to jazz, for which I am eternally grateful.

It is 10 times faster to process stuff now. No more dreaded beachball of death.

She was apparently on NPR recently explaining her position (didn't catch it)--she wants people to get a special license from her instead of a general ASCAP license. What she didn't mention most likely is her desire for Dweezil to monopolize the zappa music revival via the *zappa plays zappa* series. I think it's totally funny that Frank covered stuff like Johnny Cash and Stairway in his own, ahem *peculiar* way.