Kalo

One word, my friend: DISINFECTANT...

So... Blondes are stupid, therefore we must buy a Mercedes? Or, Germans are arrogant, but because they can make fun of blonde women we must buy a Mercedes? It'd be funny, if it wasn't funny.

Actually, Andy Dick was pretty funny early on as a member of the cast of the Ben Stiller Show; the consensus, however, is that he's been largely UNfunny since then...

Anyone else wonder if this is a pact between two has-beens to get a bit of juice flowing?

I agree, on the whole. I recall getting some guff in a previous thread when I suggested that Jarrett was one of the progenitors of "New Age" music...

Now is it the chest hair or the sweat that makes it ugly ...... Both... The flute. Seriously, the whole thing is just... wrong! The hollow-eyed gaze, the way he's holding that damn flute, the sweaty, hairy chest, the way it's cropped just at the navel...

That may be the most thorough booklet I have ever seen. And for a single disc! I imagine that if they ever did a box set that the booklet would dwarf the discs by a fair margin.

Lord, Lord Am I Ever Gonna Know is a great record! I love Lucky. That and the Impulse/ABC stuff is the way to go.

The obligatory encore is alive and well here in Boston, too, at just about every jazz and classical show I attend. I, too, appreciate the players who just play until their time is up, which is more common in alternative spaces rather than clubs or concert halls, I find. One of my pet peeves is the obligatory standing ovation. Again, just about ever concert seems to end with the audience on its feet. I think that, in part, this is because people in general go to many fewer concerts per year than they did in the past, thus they have no standard for comparison. More frequent concertgoers, it seems to me, would be less likely to give a standing ovation. In a way, the folks who do so nowadays are applauding themselves for being cultured people who came to a concert!

Happens all the time here in Boston as well.

Just saw Ron Carter's trio, with Terrasson and Malone, at the Regattabar in Cambridge. Real uneven, veering between the jivey and the musically compelling, often back-and-forth repeatedly in the same tune.

There was rock before 1970? (kidding) Yeah, They called it rock and roll back then.

Yes - it's great. And I gotta say, I do love the cover! At the end of a Randy Weston concert in Boston about 15 years ago, he introduced her and she was helped on stage. She wasn't in a wheelchair, but the effects of her stroke were very evident. She didn't speak, but the appreciation on her face for the recognition was moving and heartbreaking at the same time. As a Melba Liston fan (not to mention a 'bone fan) I do believe I'll have to get this one myself.

I know. That last image.... Is there a better final shot in any film? Well, maybe The Third Man. The last image of The Searchers left a huge impression on me. A great one, too, no doubt!

DEFINITELY one of their all-time best! Thanks for the reminder.

I heard you the first time!

If you're saying that he's a plagiarist and can prove it, then I welcome that.

BTW, I have read Peter Yates and I plan to read more. Don't see what that has to do with my qualified approval of the effect of Alex Ross's admittedly cushy New Yorker gig. I trust we all know that it takes a lot more than just knowledge and writing talent to get that type of sinecure. We can speculate on the degree of arse-licking it takes to get there, if we have the stomach for it. None of which makes moot my point that he's bringing figures such as Sibelius into the current general cultural dialogue.

while i disagree with yr opinion here, axe yrself this: who else even has the chance?! again, i make the Giddins comparison, except for almost all practical purposes, Ross is unhampered by financial worry (everything in the world free, generous travel budget, etc). that there's almost no competition doesn't make his work qualitatively exceptional & if you think it is, try reading a Peter Yates book & then reassert that. maybe you will, maybe you won't but for a dude of supreme priviledge for quite a few years (axe about my friend who slept with him in his fancy, cd-STUFFED Brooklyn Heights apartment 10+ years ago) ... he's a joke. (likewise Giddins' literary & filmic affectations AND his willful ignorance of blues & rock & pre-jass pop. again, w/ that platform, you gotta do something right over the years... but not that much, & certainly not to the level of his self-approbation. i have a book here someone sent me for laffs, it mostly sucks but Giddins is a contributor & his is the ONLY author bio that jerks himself off in addition to saying _____ is the author of, she lives in ______, etc.) the thing is, because the editors don't know any better... they get away w/it, for years, & are actually lauded for their long-term shuck & pomposity. well not HERE, baby! This ain't an ideal world, that's for sure. What's your solution? I'm pretty much over Giddins myself and think that he's had his day, but he sure did hip me to a lot of great music when I was beginning to investigate jazz. Compared to a Gene Lees, say, or most anyone else from the generation of writers preceding him, he's a popalicious rock'n'roller. Nowadays, I must say, I find that the folks on this board (up to and even including edc) are a lot more informative and interesting and knowledgable than most any of the "name" critics. But I can't deny that it was not only the few jazz-informed friends I knew, but most emphatically also the Giddenses and Francis Davises and Hentoffs and Feathers and Williamses and even, gods forbid, James Lincoln Collierses who led me to the appreciation for the music that I have today, however I may agree or disagee with their judgements in retrospect.

Possibly because you can still hear the music in your head. Also because, though I like some rock, most fusion did and still does leave me cold. Also, the way much acoustic jazz was recorded in the '70s -- direct bass, too much isolation, etc. -- rubs me the wrong way.

Leftover leek and chives risotto fried into crispy pancake and accompanied by a romaine lettuce, watermelon, Morrocan oil-cured olive, and red onion salad with a sherry vinegar and olive oil dressing.

To respond to the topic of this thread, I did actually start buying jazz records in the late '70s, which coincided with the end of high school and beginning of college for me. And apart from the AEC, Arthur Blythe, "Blood" Ulmer and a few others, I mostly bought older stuff, because I was trying to catch up with the music's history, so anything that looked too contemporary I tended to avoid, including older recordings that had been repackaged to be more commercially up-to-date. Oddly, the 1970s is still one of the least well-represented eras in my collection, as far as jazz goes, even though those were my "coming of age" years.

And you call that being alive? At least you were listening to classical music back then.

Great thread, guys. This kind of passionate, opinionated discussion is what I love about this board. I find Ross interesting to read myself, agree with him or not. I appreciate that he writes about classical music on a pretty high level for a general interest magazine. Right now, because of this article, people are being inspired to investigate Sibelius for the first time or delve back into him. I can't conceive of that as a bad thing.