MomsMobley

CT-- I'm surprised! For 'rock,' find a copy of the posthumous "Imaginary Diseases"; if you ever liked anything about "blues," "rock" and "loud guitar"... it's THERE. But I am also convinced Zappa is ** always ** best considered a composer, which, to me, most of the "free" blowhards should not be, or if they are, it's like fuck... Alan Silva, for example, is a shitty composer. Also, Blow Me Gladys Hampton Also, read Nicholas Slonimsky's accounts of FZ in both the "Baker's Dictionary of Musicians" and NS's autobiography, "Perfect Pitch." I used to get off the bus when George Duke did but, unless you can't get more complex than the Ramones or Motorhead in 1977... this is pretty great-- and ridiculous-- but still great-- My link We can discuss the non-rock composition another time. Also, CHEWY, I have "Freak Out" and "Absolutely Free" in MONO.

I know some works by most of those, with special interest in the Hummel sonatas, Boccherini quintets, Spohr, Vanhal and Vorisek symphonies. BIS had one (or two?) discs of Cherubini 4-tets I've been tempted by but haven't heard-- my interest in Cherubini has waned, I suppose, although my interest in Gluck only increases with familiarity. Hot tip on CONTEMPORARY string quartets, period: George Walker, now available for sampling on Naxos-- My link video of GW's viola sonata-- My link

mmmmm... some stuff you want, some you can live without. On EMI, I saw go for the Gary Bertini integrale instead, supplement that with whatever you want more of-- http://www.amazon.com/Mahler-Symphonies-1-10-Lied-Erde/dp/B000BQ7BX2 I can't justify the cost at this point but if you have the dough or underground know how, the original Michael Geilen series (with various 20th c. couplings) is another 'sleeper' cycle. For mainstream boxes-- all with caveats-- I rank them 1) Chailly 2) Bernstein (Sony) 3) Sinopoli Complement with some Walter, Klemperer, Horenstein, Kubelik (Audite label live is almost always better than DG), Benjamin Zander; depending on how well you know the music already, the last can be interesting because of the free lecture discs included. I've not head enough of the Tilson Thomas series to say whether it's worth the bones; Boulez, Solti, Tennstedt, Bernstein (DG) and Rattle are not. Hope this helps, Mom

Back to Revenant... I bought the set when first issued and missed the news about the Ayler estate imbroglio... UN-EFFIN'-BELIEVABLE!!! I'd love to hear more about this just to get blood boiling without any other stimulants. Yeah, hang on those "rights" Ayler family-- 1000% of nothing will make everyone wealthy. If there is some active Ayler Estate, you think they would have realized the "Holy Ghost" box made it ** more ** valuable, if they needed or wanted to make some bones selling t-shirts, tote bags, bumper stickers, keychains, skateboards, coozies, GOLF CLUB COVERS and things of that nature... which I'd have no issue with. I totally understand how Dean Blackwood can feel totally burned but it makes no sense it had to be that way (except that people are fucking crazy).

Oh! Thanks for the thoughts, Kenny. And like Harold, I'd probably make a cd-r excluding the interviews, which seem like they'd have been better placed as an appendix at the end of the disc. Maybe I'll hold off on this and get the Archeophone Sophie Tucker set instead.

Although it's not yet re-re-re-re-re-re-re-released on XRCD or as 12" 45 RPM, and while it's unlikely to make your "interconnects" harder, thicker, longer or-- and this is key-- more "transparent," I'm sure there are Organauts who are interested in this set from the Off The Record wing of Archeophone, whom we know and love for their King Oliver set a few years back-- Cabaret Echoes Most of us will have some or even most of these cuts in other forms but not all, I doubt. Seems a very worthy purchase but I'm curious what other think. I don't have this in hand myself yet so can't comment. I can say that EVERYONE reading this should listen to William Albright performing Scott Joplin as often as possible. Thank you. Moms

Anyone peep this yet? I fast-read it in the library before and after my prostate massage last week and... well, if I had a hammer and hundred bucks, I'd pay Larry Kart to review it but maybe he's got a library nearby also? (U of Chicago Press SHOULD have asked LK to blurb, though perhaps they did and he-- and others-- demured?) Regardless, I think, briefly, Cohen knows the Duke archive much better than he does American cultural history so there are some weirdly skewed and screwy summaries; there is, however, also more careful consideration of Duke's post World War II career than I recall seeing elsewhere so... it's worth a peek at least and it's definitely better-- if less slick-- than Terry Teachout's underwhelming Louis Armstrong bio. The great Duke biography does not exist but other than Mark Tucker's "Early Ellington," this is probably the second best, flaws and all. (It's definitely better than the fraudulent "Music Is My Mistress.") Harvey Cohen's Duke Ellington bio

Rufus Harley >>>>> Joe Harley And while this is a briefly interesting question, re: why the fuh nobody copied the first press vinyl before... Paul and others are 1000% correct, the endless conspicuous consumer nonsense over remastering is the death of the culture; forget the article, perhaps, and just call it the death of culture. This doesn't mean we should not recognize, and celebrate, first class engineering and transfers (viva Roy DuNann, John R.T. Davies) but this a lot more people should call bullshit on these re-re-re-re-re-re-re-re-issues than than they do. On the other hand, as soon as Max Roach "It's Time" comes out as a ** 78 RPM ** folio reissue, I'll be the first in. Coleridge-Taylor Perkinson FTW!

1) Allen Lowe is mostly correct* 2) John L is correct 3) Greil Marcus is an intellectual fraud, a musicological nothing 4) Robert Johnson was a brilliant ** MUSICIAN ** 5) Robert Johnson's LYRICS were bullshit, or folk, or train schedules, or menus, bills of lading, Vicksburg brothel price lists. 6) So let me get this straight, Robert Johnson records, almost uniquely among records of the era which are known, are thee ONLY ones regularly speeded up 20%? 7) Get the fuck out of here! 8) Anyone who ever learned to play fingerstyle guitar in the middle era between just records and mostly digital jerked around w/a variable speed tape recorder-- helps you learn Blind Blake better, sure, but SLOW Blind Blake is like slow Bird-- an interesting physical exercise, perhaps, but self-nullifying. If you (we) can't keep up, eventually, QUIT. 9) Fuck Clapton, all of him, including all guest appearances, including Sandi Shaw's juices on John Mayall's beard, including dead Duane's overdubs, including Bonnie Delaney crotch shots-- all of it! * Bach far far far far far far surpasses Robert Johnson as a musician, while acknowledging he had longer life and greater context to do so. Cut Robert Johnson from history and really, we lose little. Please see Bach's entry Nicolas Slonimsky "Baker's Biographical Dictionary of Musicians" for the immensity, both as summation and visionary challenge, of J.S. Bach's achievement.

Please excuse my math, though I won't make up a chart asking for absolution. So it was Basie ** 1962 **!! And who besides the good Count-- whom I adore, and I'm wearing one of his Captain's hats even now to prove it-- and his "estate" is supposed to get profit participation in this thing? What were the contracts of the band members like on that tour? Hey, I'll donate $5 to the 'Basie Estate' if they'll just go away and stop wasting everyone's time-- or put out their own dvd, with proper payment to, I dunno, the Thad Jones Estate? Or Frank Foster?

And 'Basie's Estate' has precisely what 'rights' to do with this? Should Eddie Durham's estate get a cut too if any of his arrangements were still in the book? Who the hell knows what the original film rights to this thing was? (Ain't broadcast pubic domain in Euro? Perhaps not.) And while I have no truck with the dvd co it's silly to get all upset. What was the 'Basie Estate' doing with this for the last, uh... 26 years? Or Basie before he croaked? JJZ is a joke, give your $$$ to any random homeless person and it'll have greater positive effect. (early Sam Phillips) Sun >>>> Moon (of Memphis) = Moon (of Sonny in Denmark) >>>>> Telarc Jazz, Marsalis Music (sic), Okka etc combined. early Fresh Sound was hot too! Smokin' Bird, Bud, Guiffre 3... Al Haig?

Mr. Majestic: how do you know about Lincoln Mayorga? Not that you shouldn't but he's a great talent who sort of falls between the usual orthodoxies; as you well might yourself, of course. Allen: yes, Grofe is wonderful, I'm stunned by the level of execution and, to use a five letter word, "swing" on both these discs. Sort of the symphonic jazz equivalent of the best Randy Sandke or Vince Giordano performances? I thought you might know of Gallodoro, a certain type of legend-- My link

Among the Top 10 jazz bands of their era-- MILTON BROWN AND HIS BROWNIES Fiddlers included-- Cecil Brower goddamn! Hentoff is really old now, and means well, I suppose, but he needs to step aside or have someone remind him of the verities. Lenny Bruce knew better, and probably still does.

This could go classical I reckon but since it was jazzmen playing it at first... A hod carrier I know was playing this all day at a small archeology site I visited in south central Pennsylvania a few weeks ago and I just got around to listening to the copy she gave me listening more closely. This kind of thing has-- and always had-- perilous crossover potential, I know, but in a world that still not only tolerates, but celebrates, offal like Ella Fitzgerald pipsqueaking Gershwin (which no, ain't worth it for Nelson Riddle cruise control either), I'll take it-- http://www.amazon.com/gp/product/B0031B7EOU A previous Harmonie Ensemble album on the Bridge label of Gershin/Grofe is wild too-- My link One wonders, and hod carriers too, what Allen Lowe would think of Al Gallodoro's alto playing?

I'm not saying that John or I are "right" here, just that this is what two such people thought at the time, when we and Monk and all were still alive in the same continuum, for whatever that's worth. Nah, you and John were right but perhaps for the wrong reasons: Dunlop's fine, whatever, it's Monk that's more than half snooze by this point. Frankie made things busier but not better, yes, but "better" wasn't what Monk wanted, or was at least capable of performing in a band context at that point. Thus the ONLY necessary Columbia Monk are the solo recordings though sure, there are some nice things scattered throughout. Nice enough? Well, nicer than too flush knuckleheads buying their x to the nth power iteration of digital Miles but what do I know? I thought people who claim to listen so closely would want to listen to MORE also. Me, I'll take the sidedrum kicking in Nielsen's Clarinet Concerto every time.

I'm posting this from aboard the USS Kearsage so I obviously can't be here but there's a public memorial/celebration of the great (sometimes jazz) photographer Roy DeCarava in Manhattan on Monday, if any local landlubbers can shake themselves free: http://cooper.edu/news-events/events/in-memory-of-roy-decarava/ Ahoy!

Any organum types have this and think it worth the bread? http://www.amazon.com/Rachmaninoff-Works-Recordings-Max-Harrison/dp/0826493122 Max is usually excellent but I'm wary of Continuum books sight unseen, especially since the pb price is asinine given the likely quality; if I go in, it'd be cloth. A shame this wasn't on one of the better academic presses we can usually trust; it's not like distribution would have been that much worse. EDIT: that is correct, thank you J.A.W.

MOON MULLICAN

Allen is actually much more right than wrong. While Rouse can be an OK flavor (as on the charmingly fake ethnic Blue Note lp), he's DEAD AIR on nearly every Monk record. There are, perhaps, a few less boring Rouse solos but they all add up to nothing + 1. People want to love later Monk and I did also but there's no way around the fact much of it is coasting. Rouse is a swing era section player whom fate made a soloist but is there even one Rouse with Monk solo as great as those Monk + anyone else? Granted he's six years younger and thus of a different jazz half-generation but compare Rouse blowing blowing and blowing fumes to, say, Booker Ervin. (Can anyone imagine Rouse with Mingus? Hah!)

Point taken but Ornette hasn't been clogging our arteries or vas deferens with eight jillion lame-ass 'standards' records that need such a mewling excuse for 'guided appreciation.' It's hard to hold a grudge against Charlie Haden, of course, but as recording artist, sad to say he used up nearly as much of his goodwill as Ron Carter did. Is there something seriously profound in Jarrett's improvisation or-- I'm being kind-- "recomposition" of moldering cocktail shit we can't all get better (and hopefully did), when it was fresh, from Oscar Levant?

^^^^^^^^^^^^ INSIPID. Jarrett, not Guy's quotation of, which is great for a laugh at other's ungodly sense of self-importance and superficial 'magic.' Can any of you imagine Red Garland, Hampton Hawes or even near-death-but-still-earthy Bill Evans writing anything similar? I hope putting green marker on the outer rim of the cd will make it sound like Keith hopes. Chuck Jones cartoons infinitely greater than any/all Jarrett 'standards' too. Take it and it's yours!

Gary Bartz opened for Gil Scott-Heron in Brooklyn the night before too. Have you heard this yet, JSngry? I'll Take Care Of You Amazing, but not really, how many reviews of the Gil don't know it's a cover, let alone of one of the very greatest of all R&B performances: vocal, arrangement, band, the works.

Quite correct. Lovano is horrible, one of the most boring, pointless chops players to have such a long career but Steve Kuhn is terrific, and the rhythm section is right there with him. I appreciate Manfred Eicher getting Kuhn out there again but sure wish he had picked another horn, or just skipped the tenor altogether. Did anyone listen to, and not want to vomit, when they heard Lovano's nauseating Ben Webster imitations (try the worst ever version of "Soultrane" as an example) on that duet album with Hank Jones? Of course, I never would've willingly listened to such a thing except I was stuck in an airport lounge in Lyon where the bartender had it on repeat, damn you Jean-Pierre!

David Munrow is important revival performer but you can skip the rest and, musically, you can skip much Munrow also. Some friends of mine used to take off their John McLaughlin cheesecloth shirts and shag British hippy chicks whilst listening to David Munrow records but that was a different era. The Orlando Consort started off strong in Tudor polyphony but crapped out on the continent. If you can spare fourteen bones, hop on this from Amazon: My link If this doesn't make the Machaut to Dufay connection, both in song and sacred music, you might be stuck. Hit the library or look for a used copy of oop Ensemble Gilles Binchois recording Missa Ecce Ancilla Domini (Virgin). Also La Reverdie recorded two Dufay programs for the Arcana label; chances are you won't stumble into these but worth seeking out if you get the bug. The best of the limeys to my ears are the three Hyperion cds by the Binchois Consort. GOOD LUCK! Moms