couw

It's all about conservation of energy and momentum.

this cartoonish, marching or circus music aspect is found in a lot of Central European jazz music from the 60s onward. I do not know of any French or W-German groups, but do know about Dutch, Eastern German, Polish, Czech, and Italian groups playing this type of thing.

Was this the domestic late 80's McMaster edition that went for $82.69?? Pardon my French, but that's nuckin' futs!!!!!!!!!!!! anyone looking for a copy of the TOCJ? it was also remastered by McMaster BTW

Not being German myself, but familiar with C-European thought, I'd indeed say that although there is an intellectual approach to emotion, that emotion itself is still put above any intellectual exercise. I have had very interesting (and sometimes tiresome) discussions with German ethicists on precisely that; they claim to reason logically, but in the end always fall back on what they call intuition. There probably is a big German philosopher's name to be tagged on that, but I am not that good at the names. So, although there is a vast intellectual work on interpretation of emotion, my impression is that the emotion itself is still taken for granted or at least put on a pedestral. Would you say that maybe such an approach is partly needed to nail down "jazz" as an artform as it certainly seems to deviate a lot from what can intellectually or technically be analysed? Jazz music probably is as much anglo-saxon/american as it is germanic: both a little and mostly not. I am not familiar with this field at all; what do hispanic or black critics say about the music and its history (well, I know what Wynton c.s. say about it...) ? hmm, re: the pure artistic history of jazz, I coudn't come up with one reference. I guess that's precisely what you wanted to say. But then again: it takes a bit of everything doesn't it? Technical criticism, esthetic, and social analysis. PS: I fear you may be right...

Jost presents some sort of middle ground like Eric describes it. He does leave a lot of room for individual actors shaping history, he doesn't focus on them though, but rather on the history he's writing about. Writing about american history as a German may also play a part in conjuring up this healthy distance to the subject. (Jost does play sax himself BTW.) I am really not much at home in (jazz)history writing. Eric, can you provide more on this meta-history on jazz history writing? Simon, would you care to elaborate on the more pragmatic angle? are there distinct schools here? PS. Strange if you think about it, how Hegel led to both Marx and Hitler...

listened to Kirk live '72 at the Jazz Workshop in Boston today. Kirk's remarks are priceless: "We'd like to play a ballad at this time. ... Er... I don't know what it's gonna be though. (rah laughs; background chatter chatter) We gonna play a fast ballad at this time. Tune written by one o' the ... black masters o' music, Thelonious Monk, this tune is called: ... Apistrofree." after which they get in to a version of the Monk staple with a Sidewinder like vamp. Gotta love the guy.

reminds me of this one big

hey look people! it's Jim Dye! tell me you weren't even lurking like I have been all this time

if they call it "america's classical music" you may need to pep up on your kirk. give them kids some of kirk's music, some of his bitterness, a lot of his joy, and more of his stamina. still feel up to it?

I kind of like the inevitability component of history that comes to the fore in Jost's writings. Much of what he writes is about how one thing leads to another, leads to the next, and to free jazz in the end. It's an almost Marxist way of writing, but very interesting I find, as it looks for connections where you may not suspect them. As it is, I like this way of writing a LOT more than the hero-worship kind the Burns series presented us. How do the books discussed fit in here? Is it inherent to social-history to describe things as a logical result of what went before combined with the circumstances at hand? Or is this a specific knack of lefties like Jost?

y-e-e-s-s-s-s-s-s-s y-o-u-'-r-e r-i-g-h-t (I'd better pop in some slow music instead of that blues for lou fire-under-your-ass thing!)

I guess this is common knowledge, but it's interesting nonetheless: Cannonball's nickname is derived from "Cannibal," a name he got in highschool for his more than large appetite. Maybe the full, round figure that resulted from that was instrumental in the tranformation to Cannonball.

Thanks for the recommendations! The Appel has some interesting reviews at amazon; looks like a provocative read to be dealt with with some reservations. The price is decent, so I'll probably opt for this one when I finish my current read. I see Peretti has also written a book titled "The Creation of Jazz," is that what you mean Mr. Rat? I see there are copies of both available via AbeBooks. As for doing a translation of the Jost book: I have actually done this type of thing (translating German to English). It's rather wearisome. If I ever find I really have nothing to do, I'll drop you a note and you may remind me If you are looking only for some specific parts, I can of course whip you up a little translation.

you must be doing something wrong chuck...

couw is playing Freddie Freeloader off his pitch corrected CD and 70s LP simultaneously at the moment. (Oh the wonders of technology!) The LP is definitely faster (and it's not my set up!) and I can even hear differences in pitch. My ears may be shite and my set up is only so-so, but whatever they did, the sound is different. I do not have a preference for either version. (LP just finished: CD still has some 40 seconds to go...)

with love from maren & couw! couw found another 54th birthday cake but deemed it unsuitable!

I believe there are two japanese CDs available. This one with Levy and another one with Joe Maini (as) Ted Efantis (ts) Kenny Drew (p) Paul Chambers (b ) and Lawrence Marable (d) (Embers Glow). According to AMG that's all there is. Haven't got a clue what the story is behind the non issued albums. interesting tidbit from AMG (link): "Two obscure singers are also on the album. Jane Fielding was a former ice skater who switched to singing jazz after a serious injury. Terry Morel is a bit more interesting, as she sounds as if she's spent more time working on her craft, though excessive reverb mars her performance of "What Is There to Say." Neither artist seems to have made much of an impact, as each of them only made a few other recordings."

Look for the Moers lp. I gather you mean this one. Is this thing easily found? I keep stumbling on a science fiction writer of the same name in my searches that remain fruitless wrt to this LP

a previous (short) discussion concluded it must be a compilation. No details yet I believe...

I am sorry to sidetrack this thread a bit, but... Garth, are you familiar with the writings of Ekkehard Jost? I have a German book by him titled "Social History of Jazz in the USA," which is really very good. I was wondering whether there are more such social-historical approaches to jazz history. Apart from "Free Jazz," Jost's own work has only been published in German I believe.

Yes! And for me, it's the best Booker Ervin solo on record. yup and it takes more than 20 minutes, so buckle up!

yeah, but it SHOULD look like this of course! Why else do you think they put text on it?

I see deus is not one of those who makes sure his CDs are straight in the case

yes.

you shouldn't miss out on the Pablo live box currently still available from 2001 then. Recording quality isn't always top-notch but you get Trane stretching out a lot. Nothing essential if you have the VV, Seatle, and Japan disks IMHO, but a very nice addition. And it will give you an idea of what happened in between. I never got the Impulse 4tet box. I had a lot (most) of the stuff on single CDs already. With new material now being dug up from the family vaults, this "complete" box turns out not to be so complete after all...