Soul Stream

i've still not read very far. however, a couple of thoughts about the whole thing. still, to my mind, my goal is to play "better." and to that end, there just is no substitute for practicing and learning. plus, once on the bandstand...all this stuff just flies out the door and you have to PLAY! keeping it honest and fun are the main objectives from then on. however, sometimes you get in a rut, creativity-wise and it doesn't hurt to hear some advice from another perspective about getting yourself out of said rut. but, still, i'm not a self-help book kind of person. nothing wrong with that and i admire people who are always open. myself, as jim suggested, thinking (and not thinking) too much about playing is counter-productive to me. for example, after reading part of the book yesterday, i went to my gig convincing myself to "not think" too much about the fine points of playing. however, certain songs have tricky passages that i immediately f'd-up because i wasn't concentrating enough. so, what's the answer? i'm not sure. both theories work for different individuals. this is all stated knowing i havent' read the book! i'm probably stepping on my toes here. i'll be able to say more later...

i, for one, am happy to see the and make a return. For those of us less verbally inclined, they come in handy (no pun intended. ) ....although the new is cool and so is the ....

This seems like a job for...Jsngry. However, I'll just jump in and say in the face of all common sense (you know, it was a coming together of many people (bud, diz, monk, kenny clarke, ect). I'm just going to say it was BIRD! Bird man, his phrasing, his bad-assness, his rhythmic command. As Dizzy once said about bebop before Bird..."We had the Music....We just didn't have the...PYROTECHNICS (til Bird showed up!).

hear a cut on the radio and it sounded otherworldly and wonderful. i need to get this...hope the rest of the record it up to what i heard the other day....

I saw talk of an AMY mosaic select on the board days ago....was that just coinsidence or is somebody at Mosaic listening in?

just a thought. I was surprised at how "mellow" relatively speaking, Parker's solo on "Perdido" is. A textbook example of what made him so genius. It's all there in those few choruses.

picked up the book today. funny, the lady at the sheet music store looked at me as I purchased it and said..."as long as you don't think this will make playing music easy." Her and the store owner had a good laugh at the expense of me and the book (f you i thought, i've got a gig in 4 hours, just about the time you'll be settling onto your couch to watch "friends" bee-a-itch. ). anyway, i really like the first little part i've read. kind of goes into the "whys" of playing music. i'll let you know what i find out when i'm done....

Thanks for the words of wisdom Jim and Joe. I think you're both right about being "in the moment." It's probably one of the more elusive goals there is for most. The greats always "seem" to be there, whether they are or not only they could tell us. One thing for sure, music is never boring...and always challenging in one respect or another...or all respects.

KOFI is a monster, killer stuff and a fav BYRD..., that said, I haven't heard them all by any means. Mizell is a big turn off for me (KOfi is non-mizell).

the battle to be creative On The Bandstand is a constant, ongoing struggle imho. given the fact that it's a paid situation and there is an audience to consider. Ornette is a super creative force, but he'd be the first to tell you that it takes a special person to listen. I've given in to the fact that i've got to be creative within certain parameters. Which is fine and indeed takes a lifetime to even attempt to fill that void. However, at times it feels like you're falling in other's footsteps to the point of wondering where "I" fit in. If it's not my concept, what's the point? A never ending circle of self-doubt.... However, at the end of the day, it's still more fun than not.

www.dustygroove.com has the import Japanese Paper Sleeve edition for $24.99.

It's his working band these days...Lonnie, Fukushi Tainaka on drums (a fucking killer drummer who hung with Philly Joe a lot, he's serious as a heart attack. He's also been Lonnie's drummer of choice for the last 10 years or so.) and Randy Johnston on guitar. This is a hard working unit and the best organ unit you'll EVER hear. See them now, or just lie about it to your friends 20 years from now. .

If they won't review your cd, that's a bit lame. I would hope they would let bygones be bygones. We're all in it for the same reasons. You ought to send it to them and see what happens at least, who knows?

Can anybody talk about the sound quality on the new reissue from Fantasy? The sound quality of this recording has always turned me away from really getting into this very much.... Yes, I know "it's the music" that counts. But, for me, sound quality plays a big role in whether I listen to something very much. Sorry, just my shortcoming.

some of the best and most entertaining music you'll ever see imho. i'm EXTREMELY jealous!

I don't know about the rest of you, but for jazz to be such a "free" and "expressive" medium, I find myself playing the same old shit over and over again until I'm about sick of the whole thing. I may be needing this book soon.

I haven't seen this much excitement about Mosaic in years. The selects are coming fast and furious and I'm loving it! Hope the Pearson comes out, but in the meantime, I'm still looking forward to getting the Carmell Jones and the Bennie Green.

Also for good measure, pick up his couple of "Legends Of Acid Jazz" comps on Fastasy/Prestige. Great 2fers with some heavy "groove."

Cheers for the Pearson set. Nice candidate for a Select, and anything that gets me "The Phantom," I'm all for....

I'm not putting down jams at all. They're a vital part of the learning experience for most every jazz artist at some point. You have to learn how to play on the bandstand, and that's where it starts. However, it does make you realize the accomplishments of a professional jazz musician are quite substantial whether you like the individual style or not. Local, regional, national or international...it's all good.

Went down to a local jazz club tonight to hook up with a drummer I was needing to talk to. He was playing in a rhythm section backing up a little jazz jam. This is where it all starts, and not to knock people beginning or playing for fun, it was pretty hard to listen to. It also made me think, often times we'll nit pick about who's the best, or even worthy of mention, on any particular instrument. But let's face it, 99% of the people we may be critical of are, in truth, monsters, relatively speaking. Too hear Donald Byrd and say he's no Miles Davis is one thing. To hear Donald Byrd or Carmell Jones and then hear any number of local trumpet players attempt the changes is a whole nuther ballgame. So, hats off to all these MF, old and new who we listen to....from Bobby Hackett to Eric Alexander....they's some bad cats no matter what you think about the individual styles of music they play....

funny you mention that one Jim, it was on my turntable already. I was just grooving to this and thinking what a monster it is. Too bad it's not on CD. Wish it were, some bad stuff....

just had to throw another one out there..."Groovin' For MR. G." is one that has really grown on me. At first I wasn't crazy about the stuff he did with electric bass. But now that I'm a little less of a snob, this is the STUFF!

I had to pick "into something." It's one that is just a great picture/graphic....but also it so encompasses in visual exactly what the music SOUNDS LIKE!!!!

When I think of Blue Note pianists, I think of only one man....Sonny Clark. Next would be Herbie (of course, Herbie should probably be #1, but what they hey... )