MomsMobley

Get Balliett from the library-- his glib technique doesn't mask his lack of knowledge/insight for long. Balliett is also the role model for the worst high gloss hacks of later generations so... beware. Better to spend your time & energy tracking down the jazz writing of Wilder Hobson-- seriously. Moms Knows Best "Sound of Surprise" catchphrase shows just how relentlessly full of shit Balliett is: we can ALL (well all "we" who are avid ragtime to swing to be-bop etc listeners both small combos & big bands) rattle off DOZENS upon DOZENS upon 100s of 'improvised' solos that are... Damn near the same take to take, performance to performance. Where's the 'surprise,' jackoff? That's not a 'criticism' in the least, ** I ** didn't invent the 'surprise' horseshit or the false elevation of 'improvisation' over composition, arrangement, timbre, etc. FOREWARNED!

Dutoit is mediocre in almost everything; I like Hickox-- he's livelier than most Limey choral conductors, maybe cuz he was Australian-- but check also Eric Ericson cond Netherlands Chamber Choir-- http://www.amazon.com/Francis-Poulenc-Secular-Choral-Music/dp/B00004Z3JI http://www.amazon.com/Francis-Poulenc-Sacred-Choral-Music/dp/B0000241MK Switch to Amazon.fr for reviews. For "Dialogues des Carmelites" the classic Dervaux and the Nagano are both excellent.

NIstico kills and almost everyone kicks ass in a dashiki! FACT: Nistico at his best is the closest white people have ever come to Sonny Rollins, 'flaws' perhaps included, despite their usually disparate settings. It pains me think of but Sal destroys ALL "lotsa" tenor turds: Brecker, Berg, Fucking Joe Lovano (who'd still suck barefoot in a dashiki), etc. WHITE TENOR TOP TEN 1. Marsh 2. Getz 3. Nistico 4. Bud Freeman 5. Eddie Miller 6. Richie Kamuca 7. Zoot 8. Farrell 9. Babe Russin 10. Sam Butera Honorable Mention: Cohn, Tubby Hayes, Plas Johnson, (best of) Jan Garbarek, early Gato, Bob Cooper. Not interested: Evan Parker, Peter Brotzmann etc etc. Ken Vandermark! Hah...

Chuck, as native Iowan-- tho' a good hour plus from Powesheik County-- did you know anyone at that Duke gig?

Complete Horowitz Original Jacket, 84 Euros at Amazon.fr --> http://www.amazon.fr/Horowitz-Original-Jacket-Collection-Coffret/dp/B002P3J3BW Last time I put in cart (- VAT, + shipping) to check it was $110 or so inc. shipping.

Gladys was a crook, flat out, and however much that might have been a defensive posture at one time... I'm VERY "glad" it was someone else humping those nasty hocks and not I. Listen again to Jamil Nasser's interview with Phil Schaap about Oscar Dennard for just one small bit of evidence. Don't think Schaap was leading Jami on, either. First, Jamil is his own man 100% and second, Schaap, if anything, tries to protect-- or at least deflect from-- Gladys, despite the difficulty of doing so.

Nelson might be undervalued (ignored) because of the soundtrack work, as was Korngold, tho' it's different transition there. Otherwise, Stryker is right, gotta listen to things-- and read history-- in their time, not knowing what's to come. Still could falter trying to be, say, the Black Delius but ** anybody ** would because Delius' genius was far from replicable... George Walker's body of work-- mostly available on Albany-- is tremendous (listen to any piece with son Gregory on violin for starters) but he's such a thorny character it seems few want to embrace him. Mark, did you get or see Walker's autobiography? Also, I forget you're in Detroit City-- Hannibal, of Bastrop (?), recorded his symphony with the DSO. Still's vocal works should be better know but so should Virgil Thomson's.

Post corrected. BTW, much of the new one is on google books, so let's see what he says about Dean Martin now-- Friedwald & Martin (Crocetti) Forget that I don't even disagree with most of it. Q: Why does Friedwald change the meaning of "menefreghista" (page 304) to "incapable of giving a damn? It's incaple of giving a fuck, asswipe (sez so explicitly in the Tosches he's riffing on), and this is a BOOK, meaning you can write ** whatever ** you like, i.e. at Wall Street Journal (which used to be a great paper, for news) you have to follow 'standards' but ** NO ** legit editor of adult books is going to censor your language for 'dirty' words. "Funny" too how text search shows 'the dreaded N-word' isn't in the book; how the FUCK can that be? That's not 'taste' or 'sensitivity,' it's a goddamn historical LIE. Note also, while Paul Robeson is mentioned numerous times, there is ** NO ** Paul Robeson entry. What's the matter Will, can't handle complex truths without Tony Bennett telling you it's OK? Paul Robeson Purest Kind of Guy (Marc Blitzstein) Fuck Will Friedwald. And Gorden Jenkins was goddamn brilliant. xxoo, Moms

DING DING DING DING! Freidwald is musically-- get this-- illiterate; an OK, if not infallible, guide to shit he "likes" and a fraud to things he-- for whatever reason, usually ill-explained or merely bitchy-- does not. Meanwhile, despite having Tony Bennett's DNA on his chest, his claims are fucking laughable. esp. given Will's V-A-S-T goddamn ignorance of non-jazz (and a little cabaret) pop singers. And what the fuck was his problem with Mabel Mercer? I admit she didn't TASTE good but who says you gotta eat her? At one time I found parts of the Singing book alright; decent on, say, Peggy Lee; dogshit on, I forget... Jeri Southern? Julie London? Ann Margaret? I don't think he mentions Jim Reeves, which ain't my regular cup of meat but I wouldn't NOT put him against Dick Haymes, say. Friedwald's Wall Street Journal writing is crap too btw tho' I cut him slack there, sorta. Do I recall his Kenton/Mosaic notes as decent? I can't remember what he said about Dean Martin who, while he obviously didn't make-- or try to-- the same quality of albums Frank did ... fucking DESTROYS Frank and most other pop/jazz/etc as a live performer-- which counts for a lot, actually. sleepy time down south gentle on my mind up a lazy river Freidwald also missed a lot of lesser known songbirds in the singing book tho' OK, he was a young guy then spending capital of his old man's (excellent) record collection. Except that he horribly misunderstands Gordon Jenkins, misuses musical terms more than once, seems to be unable to notice and/or comprehend the evolution of the singer's swing (and that of the backgrounds) throughout the 50s & 60s, seems t think that all of the post-comeback material is more or less of a piece, and seems to be convinced that at some point "I" will "need" to hear all of the 40s recordings (hasn't happened yet, not but a long shot. One or two at a time is just fine, thank you.). Other than that, a fine book. Seriously. But ain't no way that I take him at all seriously on the "insight" front. I think he's a literate fan as much (or more) than anything else. Not that there's anything wrong with that.

Seeline: I know what you're implying but you use too broad a brush, on both of the border, I think. Sngry: with but few exceptions, FACT: songs & marches win, and I say that as great advocate of composition. As for "sound" (mere sound, some might say), that's PHILOSOPHY, not music, unless we're really going to pretend Bill Dixon, admirable-- even heroic-- polymath & all, was REALLY a "great" "composer." Yeah, what fucking song? (Maybe the RCA album?) I won't even get into Ben & Lester, tho' if we were younger, & swingers, we'd both thrill to get into Claire Austin "four or five times." *** = to best of ALL jazz, best of ALL boleros, EVER ---> George Jones "Open Pit Mine" (written by mysterious D.T. Gentry*) From Morenci, Arizona where the copper mines glow I could see Clifton in the canyon below In Clifton lived Rosie, we danced and we dined On the money I made in the open pit mine. I loved my sweet Rosey and she loved me too There was nothin' for Rosie that I wouldn't do Her hugs and her kisses they were something divine Gave me reason for working the open pit mine. While I was out walkin' with my Rosie one day We passed a store window with rings on display I bought those she wanted, how they really did shine Spent the money I saved from that open pit mine. Her love would bring heartbreak that I would soon learn 'Cause she would two-time me when my back was turned Rosie would go dancin' and drink the red wine While I worked like a slave in that open pit mine. One night I caught Rosie on her rendezvous She was huggin' and kissin' with somebody new It was there that I shot her while their arms were entwined Then I buried her deep in that open pit mine. I took a look at my future and what did I see There was nothin' but trouble a-waiting for me But on the sun's next rising I'll be satisfied 'Cause they'll find me there sleepin' by my sweet Rosie's side. * real person, not publishing co. fiction

Beyond. Fucking. Insipid. And please. Please. PLEASE. Everyone-- Read any/everything by John Hope Franklin before taking these "freedom" "jazz" knuckleheads say. Also, on "Democracy," Henry Adams ain't too shabby. Ossie Davis reading Frederick Douglass is nice but everyone needs much MORE than that too.

Sondheim is fucking brilliant; he may or may not be using inappropriate criteria in his jabs but I doubt it. And of course he reveres Hammerstein! What do ya'll want, if he's going to comment, oh x, y, z are all great great great? In parts, sure, but en toto? Fuck that. And even if he mistates (I dunno if he does or not), how is another artist going to evolve without critical engagement? Sondheim had avantage of being artist where others often ** had to be ** hacks but still. Does he talk about Yip Harburg? Not that responders here have made the comparison but hard to believe there are Jason Moran fans (say) around who could disrespect Sondheim? Not that he's infallible either but if you listen to Roscoe Mitchell ** or ** Andy Razaf you should damn well be down with Sondheim.

Don't miss the various JSP Rembetika boxes, such as-- http://www.amazon.com/Rembetika-2-More-Secret-History/dp/B000YRZ1WG I used to be very into-- than very against, in the Bear Family/Yazoo rip-off phase-- JSP but some of the more 'curated' sets are top notch; the Hoagy Carmichael esp. I think the Mills Bros are goddamn great too tho' I think those date to the old R.T. Davies-era JSP. Not on sale but astounding-- (from Lauren Brody's website if you have a cpl extra dollars to buy direct). http://songofthecrookeddance.com/products/products.htm#OTN

That is a very good deal for people who don't have much already tho' it leaves the choral & concertante works hanging. Sony is pretty good about mastering their classical so hopefully they'll use best available transfers. One of the minor secrets of vintage classical is that Masterworks series has a # of titles actually RE-MIXED and mastered for first time on cd at budget price: Robert Craft Schoenberg transcriptions; Ormandy Mahler 10; some Szell Mozart; even a Perahia Bartok recital that's actually quite excellent. SIDENOTE: The rank idiocy of major labels even when do they do excellent things a strong core would like to buy and promote out of love of music? The forthcoming complete Heifetz Original Jacket set, which I can find ZERO info on except at HMV.Co.Jp There was similar lag time on the Horowitz-- even question whether it would be avail domestic-- but how hard can this be? They obviously don't give a shit at some level, as there are numerous listings on Amazon which don't list a sets contents-- which is Sony/BMG's fault, not Amazon, they obviously want more info for buyers, not less.

Same here. However, anyone who doesn't already know at least half of this-- Oistrakh EMI should hop on; it's greater than all Miles Davis reissues, ever, inc. "Plugged Nickel" (which was nice but this is eternal). Bernstein Sony Mahler & complete Horowitz are also marked down significantly; I highly recommend the latter for those who can afford it; otherwise start with the Scarlatti and go from there.

Now ** this ** is what Moms has been waiting for, soaked with anticipation-- Amazon + Video Granted, AOTY award will depend on how much dig Tim Berne (I like him more than ever as a player; he was always an interesting composer) but Formanek <---> Taborn <---> Cleaver are unimpeachable; would mind a trio record breaking out of this either. Compositions here are all Formanek btw. not that Allen Lowe ain't already set with keyboard players but if I had a foundation I'd grant him dough to hook up with Taborn too.

Bill Dixon "Odyssey"

I'm surprised there's so much anti-Jamal feeling here. Visceral distate like Allen's is more understandable than the critiques I've seen so far... Especially when so many people have and will again jerked off twinkletoes like Hank Jones and Tommy Flanagan, or can abide Oscar Peterson in any way but getting to Lester or Ben. Or fucking Jarrett and all his standards crap-- worst records DeJohnette ever made and who sucked out Peacock's brain? At least Eicher puts the money back into the label to real hot shit like Roscoe and Frank Martin (New Series). Jamal consistently challenges both the fingersnappers and the phony 'progressives'-- but then I'll defend nearly all John Lewis too; he probably shouldn't been so nice to Gary Giddins but it mighta seemed politic at the time. Jamal Means Unconquered!

Addition noted with gratitude. Jamil Nasser was a giant, ask and I don't know that you shall receive BUT... Somewhere there is a long interview with Jamil talking about his friend and collaborator Oscar Dennard that everyone should hear-- dialogue and music-- seven or eight times at least. Dig The Memphis Mafia

FACT: Red Garland is thee single greatest straight-ahead(-ish) non-hyper-virtuosic pianist in jazz history. Drastically underrated artist, despite the exposure with Miles and "pleasant" popular reputation. FACT: Jaki Byard is thee single greatest trans-historical hyper-virtuosic pianist in jazz history who, post-Monk and Jamal, reinvented group architecture +++. The "shame"-- or public disappointment, at least-- of his career is the relative scarcity of orchestral realizations of these concepts.

Keep an eye & ear out for Lou Harrison Symphony #4 featuring Al Jarreau-- http://www.amazon.com/Portrait-Harrison/dp/B0000042HA

medgar-- I believe Moms was saying that RJ is ** only ** an excellent guitarist & singer, i.e. musical performer. That's no small accomplishment but the "King" jive, let alone the asinine myth making and lyrical exegeses, is historically untenable. A similar example can be made of fucking Gram Parsons, a tolerable folkie in his narrow sweet spot, way over his head to insufferable elsewhere, esp. as country western had more great jazz-influenced singers than did jazz itself. Meanwhile, how much of Gram's schtick was swiped wholesale from Bobby Bare and how many 'rock' or 'folk rock' knuckleheads even think to mention it? Barry Gibb >>>>>>>>>>> Gram Parsons all day every day too, btw (if you wanna folk). As for Ahmad, he and Vernell Fournier together ASTOUND, and I say that knowing some people I otherwise loathe agree. JSngry btw is 100% correct. Inventive & reinventive group architecture >>>>>>> mere grooving, just so ya'll know Moms is consistent. Some might call it proto-harmolodics; some might call Dakota the Dancing Bear for a second opinion. White Ties Do Make It

Is this for real?! First, any one in the music biz, such as it remains, who says "360 degrees"-- a term usually intended to exploit rappers desperate for advances and misperceived corporate cred-- ought to be spun the fuck around infinity x 360 until their so goddamn dizzy they can't remember how idiotic they sounded before passing out. Manteca! And this "fire music" shit again? Manteca! (And what does Mike Love have to say about it?) The ** LAST ** thing the world needs, by the way, is more new records and the only New Era worth a damn is my Michigan State Fitted MomsMobley has received no compensation of any kind to make this endorsement. At least Bernard Stollman's '70s phase had "Black Beings" and, elsewhere, presumably, warm hippie woman legs wrapped around his once idealistic head. Manteca!

Guess again, crazy legs. Have you read Frederick Douglass' 4th of July speech? A. Lincoln's letter to John Conkling? Louis M. Gottschalk's memoir? I'm just goosing the tiresome Mary Lou Williams scholars who wanna take her god bothering, sincere as it mighta been, out of the context from which it was born, whether by inspiration or reaction against. "Race" has nothing do with it, sex less, although I'll put Gottschalk, Joplin, Fritz Delius, James P. Johnson and William Grant Still (for starters) against any five of your break beat friends. (If this was Iowa we could go girls six-on-six.) Again, I don't want to throw a scholar and a gentleman like Allen Lowe on to the fire but his work and others like it makes a WHOLE LOT of people uncomfortable because all their loud and precious opinions-- once in a while salable ones even, cf. "King of the Detla Blues Singers"-- are demonstrably proven to be so much loud-mouthed horsehit. Any individual can and will make their own aesthetic decisions +/- this that but go on denying Pha Terrell and you deny more of yourself-- or your potential self-- than you seem willing to admit. Now if you wanna make something "sexual" about that, I won't tell a soul I love you; the records go round and round. Oh, so it comes down to projecting one's self into A Dead Negro Fantasy Involving Sex. Again. Or some other Dead "Other" Fantasy Involving Sex. Again. Nothing that can't and doesn't happen anytime there's a scene of anybodies doing anythings. I imagine there's been quite a bit of that in Daptone Land. So far, nothing but eternal = = = = = = = = = = = =

Actually, I meant >>>>>>as QUANTITATIVE statement tho' I dame sure mean it qualitatively as well. But let's take Sharon Jones, a second-rate soul/funk has-been who stayed spry long enough to get her picture taken with snappy dressing white boys. Or let's be generous and say she got better-- it happens, sometimes. But no matter: enjoy it or don't. I don't. Now take Pha Terrell. What do we know of him, by comparison? A fucking halfwit like Will Friedwald can openly mock him (in "Jazz Singing," the other half of which is pretty good). Dozens of other people cringe if they recognize his name yet if you wanna talk "soul"-- and you, Brother Sngry rarely shy from such discussion-- Pha was, if not THEE man, one of 'em. "Le jazz smooth" as Hugues Pannassie called it didn't start with Nat King Cole ** or ** Henry Burr. You might be alive tonight but you live, intellectually and aesthetically, in ALL TIMES. That is why Sal Nistico qualitatively >>>>>>>>>>> all Branford combined, ever, and that's why Pha Terrell matters more than EVERY Miles Davis re-re-re-re-re-issue from now until the heat death of the omniverse. If you can, for even an hour, try to imagine what Pha Terrell's life was like (it was very interesting), or the joy his listeners felt, or how big his eyes bugged out the first time he saw Mary Lou Williams' lusciously secular organ grinder-- The rules are we live in an age where history is grander and more accessible than ever before; that has its perils-- lack of concentration being one-- but the old bullshit "verities" are just that, and pleasures of convenience (Sharon Jones) really ain't that pleasurable by comparison with MANY possible others. Moms