johnagrandy

But that's the whole problem with going back and listening to WR, they ultimately failed. I went to ton of live shows ... the ones at the Greek Theatre were especially good (I remember Santana sitting in). WR was my 2nd favorite fusion band after BB. I think they stayed together way too long, and sailed the ship on and on until eventually they were floating around in isolated murky waters with no winds from anywhere ... for reasons I don't understand at all. I mean, in the final years of WR you have one of the three greatest living saxophonists (if you think Joe Wayne Sonny like I do) sounding like he got thoroughly bored with it a long time ago. It's like Wayne was playing at 50% or something.

That's exactly what I read and heard from many sources ... including professional audio/video engineers. But I recently bought a high-end new Toshiba laptop with Windows XP Pro SP2 and wmplayer.exe v10.0.0.3646 pre-installed and it rips/encodes .wma files lightning fast (less than 1 minute per CD) and the sound is absolutely flawless as far as I can hear. No technical reading or configuration necessary. Pure simplicity. Maybe I'm not getting the best sound possible, and maybe I need to do some comparisons with other technologies to know for sure, but with the WMAs sounding just as good as on my high quality CD player I really wonder if it's worth my time ... ? What's radically changing the world of laptop rip/encode is the dual-core CPU machines (MacBook the first) -- because with these you can run other processor-intensive app(s) while the rip/encode is occurring. One core does the rip/encode, the other core runs the other app(s). For example, you can watch high-quality video or run some monster db sql script while ripping/encoding. And at my work today, a guy who's an expert in all this was talking about how you can even hook up an external CD burner and simultaneously rip/encode one CD while burning another one you've previously ripped/encoded onto your hard drive. Not sure if wmplayer.exe can do this yet, but apparently some sofware can. He also said that Microsoft's next big version of wmplayer.exe that will make it possible to rip/encode a CD and burn a copy of it simultaneously (if you have the extra external drive, or course; plus there are rumours of laptops in the works with built-in dual CD/DVD drives). I'll talk to him more tomorrow and post. I can't wait until Toshiba puts out a dual-core model that gets top reviews. ( I only trust Toshiba for laptops ... bad experiences with every other manufacturer. ) Of course, dual-core will be always be faster on boxes than on laptops (because of the heat dissipation issues). The reason I emphasize laptops is that you can slice up the monster chore of ripping/encoding all your CDs across your daily schedule. Some in the morning before work, a whole bunch at work, more at home at night, at a cafe on the weekends, when you're visiting family or friends, etc. Takes a lot of the tedium out of it.

That gets my vote, too. But this thread is about Blakey Messengers trumpet players Clifford Brown did not play with the Messengers, he played with the Art Blakey Quintet Whoops. My bad. Any random cat who accidentally stumbled onto Bu's stage and blew at least one note , or even just drained the spit valve , qualifies.

Bobby Shew is a very interesting guy. I used to keep close track of him when I was way into Toshiko's big band and caught every live performance I could. There were a number of pieces she composed that showcased him. Unfortunately I've forgotten the albums and the tunes' names and I lost all my boxes of vinyl in a move. Not only was Shew a quite lyrical improviser who well knew the art of gradually building a story, but he also often played lead (and Toshiko wrote some of the toughest lead parts ever). I'd guess Shew is perhaps one of twenty or so of the greatest leads of the 20th century. Last year, I happened upon a large collection of web videos of that huge bash they threw for Maynard in L.A. Although I lost interest in Maynard's music over 15 years ago, it was nostalgic to listen to all the tributes: all the old bravura, showmanship, towering egos, and ferocious playing was present in spades ... actually in a royal spade flush ! Many of the greatest living high note artists composed the horn sections of the various bands assembled... including, much to my surprise, ... Bobby Shew.

The Hill Mosaic CD set hit eBay today and was gone in minutes ! $250 http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...=ADME:B:SS:US:1

http://www.mondowendell.com/allanint.htm SECONDS: What music were you listening to in those days? GINSBERG: Symphony Sid and Bebop. In high school, I listened to Ma Rainey, Billie Holiday, Bessie Smith, a lot of Leadbelly. Leadbelly was then broadcasting live on WNYC. He did a half hour every week and I listened to him throughout high school. He was a great inspiration, particularly his version of "Black Girl" which I never heard anybody sing as beautifully. A couple weeks ago, one of my students gave me a mixed tape of Kurt Cobain and there was a version of "Black Girl" of great artistry. Great vocal control and subtlety, it's almost as good as Leadbelly's.

My girl, my girl, don't lie to me Tell me, where did you sleep last night? In the pines, in the pines, where the sun don't ever shine I would shiver the whole night through. My girl, my girl, where will you go? I'm going where the cold wind blows In the pines, in the pines, where the sun don't ever shine I would shiver the whole night through. Her husband was a hard-working man Just about a mile from here His head was found in the driver's wheel But his body never was found. My girl, my girl, don't lie to me Tell me, where did you sleep last night? In the pines, in the pines, where the sun don't ever shine I would shiver the whole night through. My girl, my girl, where will you go? I'm going where the cold wind blows In the pines, in the pines, where the sun don't ever shine I would shiver the whole night through. My girl, my girl, don't lie to me Tell me, where did you sleep last night? In the pines, in the pines, where the sun don't ever shine I would shiver the whole night through. My girl, my girl, where will you go? I'm going where the cold wind blows In the pines, in the pines, where the sun don't ever shine I would shiver the whole night through.

I'd actually take Indestructible over Moanin' , but that's way way tough ... In the less mentioned category : "Nihon Bashi" from Kyoto ... whoooahhh ! On another planet. For some reason it reminds me a lot of Lee's "The Gigolo" (probably my favorite music outside of Woody) ... don't know why, Fredie not Lee ... "Nihon Bashi" is pure energy ... "The Gigolo" is more spiritual, transcendental ... Kind of strange ... never figured out why.

Sounds like you need to crank up some Nirvana right now. Hope you feel better soon.

Who has? I'm still trying 28 years after my first Blakey experience. But I'd like to pass on the hippest advice I've ever received regarding Bu (thanks to Jim Sangrey (not sure I spelled that right) ) : Do whatever it takes to get ahold of the live 5/13/1961 Europe 1 Olympia session. I finally got ahold of the RTE double CD set (still searching for the 3rd CD) ... and it is simply mind-blowing. No need for any other superlatives. Lee Wayne Bobby Jymie Art.

well, there's no arguing-- in this or the next three lifetimes-- for Grandy's speedfreak-like Hero Worship Huh? First of all , that quote is not mine. Second of all , I didn't even listen to ANY rock until I was 23 years old. I didn't even know how to pronounce Bob Dylan's name. I listened exclusively to jazz from the time I was about 12. I was in KK practically weekend beginning when I was 14. I don't know if I was supposed to be there but I wore a crappy suit and Todd looked the other way. My early teenage years consisted of Pops, Dizzy, Fats, Clifford, Kenny, Freddie, Woody, and Randy because I was obsessed with jazz trumpet , making an unsuccessful attempt to learn to play myself which I abandoned in college. Third, people who haven't experienced true tragedy in life don't appreciate Nirvana because that's what Nirvana is all about -- speaking the truth about life, that life ultimately is a tragic experience. And for a young person to intensely comprehend this at the level of an adult who has experienced tragedy, perhaps multiple tragedies, and has still continued on, and to consistently and successfully communicate this truth , is an incredible burden to bear. Whatever unwanted media attention, external commercial influences, influential interference of the experienced and crafty on the young and naiive, any manipulation, exploitation, etc. that were foisted on Kurt does not change the fact that he stayed 100% true to himself and what he believed in until his death. And not very many people can say that. I certainly can not. In fact, his very suicide can be related to him steadfastly following the natural pathway of his belief system which led to massively depressing extrapolated conclusions about how the world and the rest of his life would unfold. You think I'm a Nirvana freak? Are you whacked? Have you met any real Nirvana freaks? How many suicides were there in the days immediately following the revelation that Kurt had iced himself? Dozens? Scores? I think worldwide the number approaches 100. Kurt was revolutionary because revolutionary does not have just one definition. Kurt keenly influenced the mindset of hundreds of thousands, maybe millions, of teenagers to rebel against the intense youth culture prevalent at the time where peer pressure to adopt phony exteriors and hide your inner self reigned supreme. Who knows if that's what Kurt intended to be the outcome of his music? Personally, I doubt it. But intentions and outcome are two separate things. The outcome was revolutionary.

Ok, I found it here: http://www.buzznet.com/buzzwords/twins/video/ http://www.buzznet.com/video/popup/1622/ Anyone know how to rip this thing into an mp3 or similar viddy file before it's gone ?

Does Pathe Marconi still exist ? If not , what has become of the archives ? Have they been acquired by another entity? Owners ... partners ... rights holders ... producers ... agents ... employees of any kind ... anyone who can trace the history ?

Don't worry. Haas Skerik & Dillon have this matter under control. http://www.thedeadkennygs.com/

youtube.com took down the SNL Prince videos : http://www.youtube.com/watch?v=hospswwC74k http://www.youtube.com/w/Prince---SNL-2/4/...0&search=prince Anyone know another source ?

Is it near impossible to get ahold of the Mosaic CD set ? I notice nothing on e-Bay. An Amazon seller has one for $375 ... but it's not even mint condition. Why doesn't Mosaic re-issue those sets that have stratosphered ?

Moving into the here and now ... anyone on here who hasn't checked out Joe Locke should do so. I'm sure glad I did.

This is a really bizarre statement. You might as well say that most every musician on a non-wind instrument never achieved lyricism, did not "sing to you". Do the percussive aspects of McCoy's left-hand and the complex scalar permutations of his right imply that he is merely technically executing on the piano? Does this mean Max with a sparse kit does not "speak to you" because he lacks enough distinct sounds ? And by that analogy it's even worse for a big kit drummer like Erskine because no one can master the sound of so many skins or sheets. I don't spend much time nowadays listening to recorded Bobby , but I saw him live many times at KK in the late 70s early 80s and he was not a Steve Nelson cerebral style of player. The man gripped ahold of you and took you into his world. It was a mesmerizing and unforgettable experience. Hutcherson merely technically integrated his instrument into the prevailing musical context spoken by others ... ? I don't think so. Hutcherson live was capable of locking your anticipation into his own and catalyzing truly transcendental experiences.

http://www.allaboutjazz.com/php/article.php?id=20807 Now this is a trip (not just because I'm Norwegian) but because I used to own everything but totally lost track of Terje about 10 years ago. Any Terje fans out there ?

Anyone seen "Block Party"? Filmed a couple years ago in 2004. As Talib Kweli and Mos Def gradually move more and more into the commercial realm , the film had me wondering if they'd be better off if they'd stayed underground. Who's the Michael Franti of today's rap scene?

That bonus "Red Clay" track is definitely remarkable ... I love the studio "Red Clay" ... but the live version is just as good in a different way. The rock 'n funk vibe is pumped-up (Cobham might be key to this). Interesting that Turrentine's funky but simple solo gets more cheering-on than Hub , who was positively smoking ! What I'd love to hear is the complete Hollywood Palladium concert: nearly the same line-up as at Southgate Palace, but includes both "Red Clay" and "Straight Life" ... however the OOP CD is $70 ... and "Straight Life" was never released -- but apparently could be. Southgate Palace Freddie Hubbard (tp); Stanley Turrentine (ts); Hubert Laws (f); Johnny Hammond (el-p, org); George Benson (el-g); Ron Carter (b); Billy Cobham (d); Airto Moriera (perc). CALIFORNIA CONCERT Various Artists Live at the Hollywood Palladium, California: July 18, 1971 Hubert Laws (f) with Johnny Hammond (el-p); George Benson (el-g); Ron Carter (b); Billy Cobham (d); Airto (perc). b. Red Clay (Freddie Hubbard) - 14:50 (CTX 2+2: Part 1 = 7:00, Part 2 = 7:50) Freddie Hubbard (tp), Stanley Turrentine (ts) and Hubert Laws (f) with Johnny Hammond (el-p); George Benson (el-g); Ron Carter (b); Billy Cobham (d); Airto (perc). g. So What (Miles Davis) prob. Hank Crawford (as) with Johnny Hammond (org?); George Benson (el-g); Ron Carter (b); Billy Cobham (d); Airto Moreira (perc). h. Never Can Say Goodbye (Clifton Davis) Johnny Hammond (org) with Freddie Hubbard (tp); Stanley Turrentine (ts); Hank Crawford (as); George Benson (el-g); Billy Cobham (d); Airto Moreira (perc). j. Straight Life (Freddie Hubbard) Note: Unissued titles (g, h & j) come from Leonard Feather's review of the concert, reprinted on the sleeve of CTX 2+2. Arnaldo DeSouteiro confirms that all of these titles were recorded and the master tapes still exist.

No disrespect at all to Hunter , but I actually recommend that you pick up both of John Ellis' CDs before any of the recent CH trio CDs. As much as I am a Hunter fan, there is no question there is an increasing static quality over the last 3 CH trio albums. Despite the marketing , Copperopolis does not rock at all. It's really a continung evolution of the same Hunter trio style pioneered 10 years ago. However, it's no longer fresh to my ears. If you like Hunter trio, the very early CDs are better, in my opinion. Ellis is more in pioneering mode right now. That's why I figured he'd leave Hunter soon ... and indeed he did. However, the expanded instrumentation on CH "Right Now Move" really works and gets some unique results ! (Especially Gregoire Maret contributions on chromatic harmonica). That's a great listen. No diss to Hunter ... he'll come up with something new soon that will blow everyone away. He's a true innovator ... maybe in a bit of a slump right now.

Looks like Ellis has left Hunter's trio ... very recently ... 1st paragraph: JOHN ELLIS ASCENDS "BY A THREAD" ON HIS NEW ALBUM DUE MAY 9TH ON HYENA RECORDS Brooklyn, NY -- A bright, darting melody springs from John Ellis' soprano saxophone and before the phrase reaches its natural conclusion his band enters with a circular double-time groove. It's an invigorating excursion fueled by compelling harmonic counterpoint and shifting rhythmic textures. The song is "Ferris Wheel" and it opens the brand new album, By A Thread, from one of jazz music's most prolific young voices, John Ellis. To be released May 9th on HYENA Records, Ellis is joined on the recording by his "New York City" quintet featuring Aaron Goldberg on piano, Mike Moreno on guitar, Reuben Rogers on bass and Terreon Gully on drums. It also marks the arrival of John Ellis as a full-time band leader, having recently left his post as tenor saxophonist with the widely popular Charlie Hunter Trio, of which he's been a member for the last five years. With By A Thread, John Ellis follows up his critically-acclaimed One Foot In The Swamp, and he does so by largely shifting courses from its funk-laden predecessor. This time around, he dives deeper into harmonically complex waters, but true to his distinct voice as a songwriter, Ellis never sacrifices his penchant for classic hooks. "Little Giggles" is a sure contender for his most memorable melody yet with its sweet sing-song head that's as soulful as it is sweeping. On "Umpty Eleven," the quintet's front-line harmonize on a contagious lead line set atop of an easy rolling shuffle. The aforementioned "Ferris Wheel" is a full-tilt burner that lets the band stretch out, yet always returns full-circle to its soaring refrain. "I wasn't particularly trying to make a jazz record, a funk record, a world music record, but rather to make a record that is an honest attempt to create a personal sound," state Ellis. "Personally, I love music that falls into many different categories, so the goal was really just to create good music." By A Thread is marked by compositions that are often cinematic, creating uniquely palpable moods and atmospheres from one song to the next. "Swirl" is aptly titled with a dreamy progression that gently floats and flutters. It's a trait that has appeared before in Ellis' music, perhaps inspired by the wide open spaces of his childhood in rural North Carolina. A counterbalance is the film noirish aura of "Wishing Well" on which Ellis plays bass clarinet. It seems to suggest an open-ended story line that doesn't so much tell a tale as it hints at unsolved mysteries before disappearing altogether. Another distinct element of By A Thread is the focus on group dynamic. Ellis and his quintet largely fly without a net, leaving behind the special guests and studio perfections of his previous outings. Recorded in just two days, the band is clearly in command of the material and consequently they navigate the tunes improvised sections with confidence and finesse. The quintet's players and instrumentation remain consistent from track to track. The major variable is Ellis who alternates between soprano and tenor saxophone, bass clarinet and ocarina. "Tall Drink Of Water" and "Old Man" are especially good examples as they take their own sweet time to organically expand, evolve and resolve. The former slowly builds section by section into a terse drum and bass rattle highlighted by Mike Moreno's thoroughly post modern guitar flights of fancy. The latter contains a rapturous piano solo by Aaron Goldberg amid the group's flowing interplay that masterfully morphs between colors and textures as the tune unfolds. "By A Thread was recorded after a series of weekly gigs at the Knitting Factory’s Tap Bar. During those gigs I had the opportunity to develop some new music and to play with some different musicians who lived in New York City. I had wanted to get a band together here that I felt as strong about as the group I had been working with in New Orleans. The idea was to make a record that was more a document of a working band," explains Ellis. "I had also been rediscovering, perhaps even craving, harmony after playing so much rhythm-based music (with Charlie Hunter), and so I had some tunes that drew more from that element of my playing than on my previous Hyena record." But before the funkier side of John Ellis' musical personality is altogether dismissed, one must look no further then the slithery, down-tempo groove on "Lonnie." While not the New Orleans-flavored funk that's become his signature, it surely makes clear that a funky underbelly is part and parcel of Ellis' approach. Here, Aaron Goldberg jumps to Fender Rhodes and Terreon Gully holds down a syncopated pulse on cowbell, while Ellis' deeply resonant tenor is front and center. The album closer, "Moore's Alphabet," written for Galactic drummer Stanton Moore, also delivers a funk-heavy, feel-good groove that brings By A Thread to a close with an exclamation point. "By A Thread as a title gets to the point of where everything is at on so many different levels. It describes this vulnerable tightrope walking feeling that improvising can have, and that making a record as a process of discovery can also have. As you hang on for dear life, you cultivate, above all, a feeling of trust with the musicians you're playing with," concludes Ellis. "Successful music, which I feel comes through you rather than from you, requires risk-taking and in that risk exists the capacity for failure. You have to accept that in order to succeed in my opinion. Falling is always a possibility. You hang on by a thread."

I'm probably going to get slammed for saying this ... .... but the more I learn about musicians like Parker, Monk, Dolphy, Ra, Shaw, Brooks, Harrell, Cobain ... I find it increasingly difficult to distinguish between genius and "mentally ill" (as conventional society defines it) ... I think many of those who heard something truly differently did not seek it out. It was not "planned" or "invented". Rather, they heard the music differently because they had to. And they had to because they could not exist in this world without continuously communicating the radically alternative conceptualization of co-existence they envisioned. A communication that could only be accomplished through music. Concerns regarding economic survival and criminality are the primary motivators for society's current response to bipolar. But what if bipolar is inextricably associated with an intensely heightened awareness of humanity on a grand scale and a biochemical inability to disassociate oneself from this awareness ? If true , then much is explained: Most bipolars crack under the pressure of the swings into intense awareness of sadness and accomplish little with their lives. A few immensely strong-willed bipolars propel the manic phases to such lengths and heights that they are able to overcome (or at least survive with little damage) the depressive swings for many years. They channel the manic energy into creativity and become those we label eccentric geniuses

thanks for that...nice to see stuff like this now and again I also like the san francisco set and always hasa regular late night spot if I have moved ( cider induced) into the elctric bird/later john patton /reuben wilson groove Lovin it Yeah, isn't that amazing. Those were the mystery years. He was out here in the Bay Area but not much is known about how he spent his time. Maybe he was way into the doogie. I gotta drive up the street and find out exactly where Mandrakes was and what's there now. Does anyone know how to post images so they show up larger ?