couw

It's a small town in the Tango region on Honshu Island. They bake a mean liver cake there with small crunchy pieces of coarsely grinded coffee beans.

most impressive

I hear the SACD sounds much better

reporting in for duty

twice!

album covers by warhol

yeah, them boring cold dudes. shooting arrows sans direction and thinking in too many directions at once to make a neat argument. I think. I'd like a Sagitarius Space Mission, just to find out about all the black matter going wild and the red spot reversing rotation every now and then.

pretty many fegh stuff there I'll admit, it gets better halfway through, then loses momentum again to end in more apocalyptic assurances that we all should listen to the man to save our souls. I could go on, but my writing skills are not so marvellous, understandable, my not being a Gemini...

try us and post them

Thanks, this helps. Some more bickering, because, to be honest, I don't hear all of the superlatives you are using to describe Wayne's style. (Hey, sue me! )... For one, how does all this fit with cool and chamber jazz. There can be a lot of collective/individual, supporting/supported, improvisation/reading parts stuff found there too. You say Wayne took a "whole new concept of functioning within a improvising group," that sounds as if even I could hear that... And what about the groups coming from Europe, with their basis in folk and Banda and classical? Also collective improvisation within strict, ordered limits. How does it all compare? It seems you might as well be hearing collective improvisation without the extrovert bite of free that usually goes with that and then labeling that lack "structured environment." Indeed a little like the introverted freedom of Guiffre, but less ragged. Maybe this "smoothness" is what you mean with Wayne's knack for playing fully formed melodic lines from the hip. Just asking for some life lines attached to my private concrete rocks, where I think I know what's up, before I can really appreciate what you are trying to say.

lots of parts. It's all a bit opaque to me in its metaphores and comparisons. From what I understand, you are saying that Wayne developed a superb technique that allowed him to express himself in a "speechlike" way. That seems to me to be more suited to describe phrasing than tone (like Rollins stu-stu-stutt-stuttering along). From how you continue, I get the impression it's about his tone though, so I'm lost. What do you mean with the "vocal" quality? The part of Wayne's solos looking like easy-po-peasy on paper, but his playing these lines in such a unique way; isn't this what it is all about, a unique and personal tone? Don't all the major players have this? Maybe not with the "simplicity factor," but then there's always Prez and even Miles. So how would Wayne's approach open the door for a new esthetic? Didn't he just reinvent some old wheel? If I understand your concept of "melody over all" correctly: it is more about tone and little inflections in playing straight, even written out parts, than about improvising lines and phrases. That would call latter day (solo) Art Pepper to my mind. Hey, I DID try! Maybe you can let catesta explain it.

I still don't understand it.

I didn't care for this session at all. Much of it seemed to come down to a lot of screeching. You can't deny the intense emotional play on some of the songs, but in the end, I found the disc wasn't essential. That is strange assessment, I find. The album uses then comtemporary pop tunes turning them into Great Black Music. It had been done before with Broadway tunes and Beatles ditties, but Kirk turns to Motown &co to come up with something much more vibrant and original, producing a true fusion of jazz soul-music. Like Coltrane did with My Favorite Things, Kirk makes you forget the original. In my book, that makes this a pretty important album in jazz's history. and fegh if it ain't a big PAR-TAYYY!!!! as well

bididididididi hello buck!

all stories are true stories

yes

FWIW, BMG Amiga has recently reissued performances from East Berlin recorded during during the 1966 tour. vol. 1 vol. 2

try Kerio http://www.kerio.com/kpf_home.html

the problem seems to be that Apple CD drives read the data tracks first. The data track fools the machine into thinking there is no music on the disk besides the compressed stuffs. You will need to make the drive skip the TOC of the data tracks. I haven't got a mac myself, but read some stories about the bogus TOC being on the outer rim of the CD, whereas the actual TOC of the music CD is on the inner rim. Blackening the outer rim with feltpen or tape should block that bogus TOC from being read and the drive would look for other TOCs and find the okay one near the centre. Never done this, really. My PC drive recognises the correct TOC as well.

FWIW, Daniel Humair played some tunes from the play for his debut album, reissued on Jazz & Cinéma Vol. 3 in the Jazz in Paris series. Besides Theme for Sister Salvation, Overdose, Wigglin', and Music Forever they also play One Mint Julep. Personnel includes Sonny Grey, tp; Luis Fuentes, tb; Jean-Louis Chautemps, ts; Eddy Louiss, p; Guy Pedersen, b; Daniel Humair, ds; René Urtreger, arr;

no farm animals named Andrew? damn! played the disks again while doing other things, and wanted to thank you again for the nice compilation.

yes, Koch released it in 2000 comes recommended

speaking of rats, I listened to the Die Like A Dog Wilisau 1998 on UbuRekkidstoday and was pleasantly surprised by the general (relative) mellowness of the whole affair. Nice. Must be because - in my eternal cheapnis to save on ink - I opted for the Pink "Die Rosa Sau" cover instead of the Dark Gothic bitmap that came with the package. -_-

what a stoopid shirt. I bet he talks like a parrot too. how's the music?

Every cut has a player who knows someone whose closer relatives from the maternal side had at least one pet or farm animal named Andrew.