MomsMobley

Medjuck, I didn't realize it; obviously they worked it out & Wexler was 1000% correct not to change it bc that sequence, visual & audio, is brilliant. Curiously, in the commentary to the Criterion, Wexler doesn't mention the hold up. (Unlike most commentary tracks, this one is v. worthwhile.) LK, though, as you know, the film enfolds the Democratic Convention, it's about quite a bit more & some of its most interesting sequences are before and besides it. I don't know offhand if you were a Kennedy, McCarthy or Humphrey supporter in the spring of '68 (I was Bobby all the way, though I did like Gene also) but there's a great, great (chilling) Bobby scene leading into the Mothers of Invention music that you will-- but a lot of younger folk-- don't recognize. Of course a large % of the film's original viewers would have recognized it also. Watch "Medium Cool" back to back with stunningly brilliant "Zabriskie Point" for fullest period effect.

Hey, taking a quick break from listening to my Zeppelin remasters; yeah! Some very inspired musicology popping into up this thread, I'll say that. And jazz without academia would be where in 2014? (Since 1974 even?) Also, Larry Kart, did you see Haskell Wexler "Medium Cool" at the time or thereabouts & did you notice the use of Mothers of Invention music therein?

What do ya'll recommend I use a DKV cd for, to shim a wobbly table? Because I'm surely never going to listen to it (again) in world of infinite options. Brotzmann is great but sui generis; that this is TRUE is demonstrated by his vast and mostly high quality discography. If anything, the Tentet is the LEAST of his major ventures though they have their moments, such as the extended Kenneth Patchen tribute. As for Hamid, he's a great foil to Brotzmann though hardly the only one. I know-- I know!!-- JSngry has perspective(s) but other folks should step back and remember-- or listen again-- to Brotzmann and Andrew Cyrille... Brotzmann and Louis Moholo-Moholo... Brotzmann and Walter Perkins (the furtive mind-boggler)... and though Bennink has his annoying moments elsewhere, there are some amazing Brotzmann-Bennink sides... Brotzmann-Bennink-Mengelberg cond. Bach Mass Bmoll... etc etc. Chuck-- you ever hear William Parker Clarinet Trio? https://www.youtube.com/watch?v=NTIiCb8GHYI

Fred Hopkins

I'd put my money on Barry Guy-- never heard him deliver a slack performance-- & those Intakt CDs are phenonemal, especially Inscape - Tableux http://www.intaktrec.ch/202-a.htm Arkestra I'd hope for the best but I suspect it'll be good; they deserve optimism, at least, unlike some performers who have worn their indulgences plum out.

Thanks for this, Steve, sincerely... But isn't it as much an indictment of Malaby-- of 'the scene,' 'the process'-- as praise song? So three 'master musicians,' who have played together before, provided you with what 12-15-20 minutes of decent music and the rest of time they were jerking off or feeling each other up/'out'? They're goddamn professionals, they're supposed supposed to be goddamn entertainers-- play the fucking tune/not tune & go: it's NOT that difficult. Or just play "Cherokee," if you think they can handle it. For some of these ad hoc big bands, I understand-- but don't condone-- the slop but this is NOT complex music; you'd think with so many years of experience, they'd be ready & know how to hit the stage READY. It's also a New York gig so it's not like travel/fatigue was an issue. You think Billy Eckstine or Dizzy or James Brown etc etc (Charlie Barnett!) (Sam Rivers!) (Barry Guy even) put up with these sort of extended longeurs? Hey guess what? Maybe "telephathic interplay"-- biggest fraud/cliche in all jazz & "improvised music," thank you for not using it-- is NOT the best way to make music; some instructions, and charts-- even "aleotoric," yuk yuk (graphic scores can be fun but are often fraudulent)-- might help... Alot. Or-- and this is not an insult-- did perhaps Malaby, Parker, Waits actually perform at a sustained high level, relative to the source material, but that the listening artists are the ones who are up & down? Demand better.

Great band, great album, it's imperfections are virtuous etc, worth it for George Duke alone though there's LOTS more. Who was it who had bad experience with late '60s Zappa, Larry or Chuck or maybe both (or neither)? I find it nearly impossible to believe FZ was racist but re: Frank and AACM & related, I could maybe see ambitious composer's ego flaring up, like hey, I'm the post-Webern, Varese... In any event...

I will acknowledge, upon further reflection, that Frank Wright "Uhuru" is an excellent side-- Art Taylor!-- and that, suprisingly, Ware "Onecept" is very strong, just a trio with Parker & Warren Smith. Malik/Spearman on FMP and Eremite are also laudable, just gotta have your Bubber Miley hat on!

excellent news, Shipp is great, even the electronic collaboration stuff is mostly better than its given credit for; maybe hardcore 'jazzbos' don't like what I hear as occasional Messiaen influence in Matthew's playing? less so now than than earlier but... also, weirdly, I saw that Shipp's excellent first solo piano CD, "Symbolic Gestures," is back in print on No More Records-- who expected that? a few other No More titles, including the Frank Lowes have also returned.

roy & billy wearing ties, william parker skinny--

Gayle is a superior musician, damn near Brucknerian on his tenor blowouts (to name another giant mocked for supposed gaucheries and hey, ALL the FMP dates are great), a terrific, individual pianist, the fiddle jams rule and Gayle has elevated EVERY sideman session I've heard him on: Cecil, the Wiliam Parker "Requiem" bass 4-tet, Sirone etc. Granted, the cloudy backstory; the corny Jeff Schlanger and sloppy Steve Dalachinsky 'tributes'; the twice born evangelism distract but moment to moment, year to year, Gayle has repeatedly proven himself and his discography >>>>> going balls deep in lotsa other gopher holes. Wish list: Gayle sessions with Adam Rudolph, Anthony Braxton, Allen Lowe, George Lewis, Dom Flemons; the ghosts of Yusef Lateef, Jaki Byard, Herman Chittison, Baby Dodds, Jaybird Coleman.

http://books.google.com/books?id=7AoEAAAAMBAJ&lpg=PA7&dq=billboard%20magazine%20don%20wilkerson&pg=PA7#v=onepage&q=billboard%20magazine%20don%20wilkerson&f=false 15 December 1958 "James Martin, head of Copa and Marquee Records in Houston, will release sides featuring Mildred Jones, Don Wilkerson, and Liz Gray. First sides will be out in January..." It's by no means a sure shot but re: Jerry White I'd search L.A. black newspapers for starters...

Yah, J&R as a whole might have floundered regardless but the fact they own the buildings and have made numerous puzzling zig-zags over the last five or so years is hard to explain... i.e. better owners/management would have adopted to changes better, been more transparent, recognized they were in fact bleeding customers from any # of directions, inc. poor employee service & morale, shady/sloppy biz practices (selling refurb as new etc), onerous encounters with impolite middle management types & rent-a-cop security etc Jazzbo, as someone with audio interests, you'd be shocked (or not) that J&R went totally low-end (tho' sometimes big $$$) home theater crap etc, not even carrying better Sony and Pioneer models if you needed to pick up a reasonable priced/performance CD player... So I ended up getting an SACD-capable (for classical) Onkyo at B&H, whose continued success in electronics-- both their store and mailorder-- is counter example to J&R tanking. Currently btw J&R is running 6-7% negative feedback at Amazon and while you're sure to get x # of crackpots when you cast such a wide net... there are too many bad in-store stories for all of the internet ones to be untrue. What's curious is-- a few section rearrangements aside (i.e. 6-7 years ago they tried gutting classical, moved it into pop/rock floor with no seperation, but it was such a bad idea they moved it back... but how much time/$$$ did they waste in doing so???)-- is that the music departments were allowed to semi-flourish, even if they could never go back to late '90s/early '00s heyday. Other weird things I'd forgotten: J&R dabbled in remainedered books for a time; used CDs (store credit only, I bought a few but never dared to trade there); the absurd roll out for J&R Junior, the kids store... They bought and reno'd a corner bdlg on Park Row that used to be long-time old New York diner to expand the camera department... Now as real estate investment that will pay off but for retail, combined with getting beat on by B&H...

ah, thanks for clarification, Paul. is the living Don Wilkerson possibly a 'fake' Don Wilkerson, stage name to capitalize on the Elder Don or ??? in that case a quick parenthetical... not to be confused with, nor-- we thnk, related to-- DW of Ray Charles et al... anyway, curious what the story there is, if any. for more on Mack McCormick, here's a long Texas Monthly profile that likely eluded many of us back in 2002-- http://www.texasmonthly.com/content/mack-mccormick-still-has-blues overall yes an excellent article and I guess for mainstream audience like that writer is smart to slightly ham it up, gives a greater chance to reach those for whom the subject is otherwise obscure or merely 'quaint,' whereas for us it's v. much a vital, familiar territory.

remember this: J&R are scumbags and the music departments were the ONLY parts of the store that engendered substantial good will: jazz, blues, classical, international, country, oldies, pop/rock to a certain extent. There might have been a period when the video dept was also estimable but I don't think there was the same relationship(s) etc... And that said, in the last couple years, jazz was gutted and they had idiots/jerkoffs working there, albeit 'colorful,' sorta characterful jerkoffs... Steve, J&R does own numerous buildings there; their failure is due to greed, mismanagement and who knows what; they made lots of obviously ill-advised biz decisions like trying to get into children's clothes, toys, accessories crap; musical instruments; housewares. No doubt margins on music were low, volume decreased but if they had their shit together, they could have continued. They treated their employees horribly the last couple years too; note in all their bullshit spinning-- including numerous denials they were closing etc-- they mentioned almost nothing about severance packages etc. I suspect there was internal power struggle but it's totally in character for them to have closed with no notice because of their extreme fears of employee theft etc. The cameras, computers, audio equipment etc-- all those stores sucked or were at best 'functional'; they might have what you need at an OK price-- almost never 'great'-- quite possibly not and they had largely horrible sales staff & management. (The check out clerks from wide variety of foreign nations were generally OK and interesting, by comparison.) While I would pick up whatever there rather than support some awful chain with sub-ghetto service, I did so because their music departments were largely laudatory. I think some dumbass looked at the #s per square foot (the reason they would shift sections around, often unwisely) and pushed for their elimination not realizing the larger draw. Their 'superstore' shuck-- closing their Park Row storefronts and consolidating into one-- was a bad idea executed fucking horribly and with lies lies lies lies lies lies lies repeated to customers and employees alike. If they weren't "lies" per se and the Friedman family honestly didn't know what the fuck they were doing... ... what does that tell you? I'm semi-demi-suprised none of the NYC biz papers have reported seriously on the J&R collapse because it's a fascinating story of 'branding,' real estate, greed, mismanagement-- forget music for now, the poor service and buying experiences of the other sections HAD to affect their $$$. Also recent-ish idiocy like not opening up on Saturday until ** 11 AM **... the change, a cpl years ago, of not opening until 10 AM from their traditional 9 AM weekdays was also debatable but you know, anything to not pay/hire more employees. The earlier hours were great for before work jaunts or quick in/out on weekends etc. Funny too how they could have sold cameras (often crap) for decades and Joe & Rachelle Friedman don't have a photo up more recent than 20-25 years old, hah. I won't even get into the story of friend who bought a DOA iMac there years ago and they 'refused' to accept a return, they'd only offer to 'repair' it... Refused? Good thing their credit card would refuse payment too, otherwise...

whoa! shocked to see that in the NYT; Paramount/Jack White effect? author's portentous style was kinda irritating at points, and he should have given a nod to Mary Beth Hamilton re: Jim McKune but I can't deny the work & heave... kudos to both Sullivan & Caitlin Love for sticking with it, also the Times editor(s) who approved, encouraged (very very rarely will I ever say that). AND-- kudos to Jazz Record Mart alum Don Kent, among others, for calling it likely Texas years ago... more Don-- http://www.eastriverstringband.com/radioshow/?p=455#comment-8815 re: Don Wilkerson, granted the story was already long but I think another line or two wouldn't be remiss, esp. since he had three albums on still iconic Blue Note, two of which ("Shoutin'" & "Preach, Brother!") with notable cover art etc. R. Crumb will in back in the states shortly, would love to know get his & other veteran collectors reactions.

It's too bad Frank Zappa isn't around, FZ & AB dialogues on composition would be fantastic, lots of like influences, 'retructuring' of respective local elements etc tho' FZ was more into Cage than Stockhausen... Curious about AB and Varese, whose name doesn't come up as much as Schoenberg, Berg, Webern etc. (Insert paragraph on interesting 2nd Viennese students, Egon Wellesz, Nikos Skalkotas etc etc). Great great AB + Stewart Gillmor Seems to be out of print but maybe if folks ask Leo Feigin... Cover art is a bit sloppy, yes, but it's fantastic to hear these guys on this repertroire, doesn't make a Braxton + Vince Giordano &/or Ken Peplowksi collaboration seem like a bad idea. If a certain # of the 'standards' quartets can stretch a little long sometimes, these do not-- if anything they're too short. I can't seem to find any clips from this on youtube but if anyone thought it was an AB tradition joke gone too far, think again. file under Schnabel's Mozart pc cadenzas!!!

update?

update?

excellent bassist; problematic bandleader; awful big band leader, conductor; negligible composer. i'm willing to listen to alternative views, with examples.

underrated; play back to back to back with Zappa "Sleep Dirt" (vocal version) &/or Cage &/or Jim Reeves "Four Walls" for interesting effect. Rock Island, Illinois mostly sucks; this, & that, do not.