ep1str0phy

To play devil's advocate: I thought it was fucking brilliant. Yes, many of the characterizations are woefully one-dimensional; yes, the film requires a suspension of anti-capitalistic/anti-Hollywood/anti-bigandstupid predilections; yes, we're dealing with yet another variation on a nigh-exhuasted pillar of American iconology, taking its cues from prior adaptations (and those--not particularly interesting from a dramatic standpoint... now, anyway). But the film takes a few crucial chances, inasfar, at least, as concerns the central elements of the Superman mythos--which is, take it or leave it, (arguably) as much a pivot on the pop zeitgeist as our favored jazz iconology (not to demean the greats, who'd be happy to see, let alone spend the box office returns/budget of your average summer shitbuster--that's a much bigger problem, no doubt). And, as a comic fan and Superman pusher since my diaper years, I'm decidedly biased. Dramatically: the film takes a massive risk in questioning the role of Superman as a static character--yes, an iconic, symbolic figure (and christ, the Jesus overtones ring loud), but one who (in his own little narrative scheme) is seldom confounded by the forces of change. He got married in the comic books, killed--it's still status quo. Now (SPOILER--does anyone here care?) he's got a kid. His girlfriend is married. It's a hell of a dramatic pothole to circumvent (if the inevitable sequels pop up), but they've endowed the character with some legitimate conflict--nothing that will alter his position in the cultural cosmos, but enough to remind the casual fan that we are, under the proper circumstances, dealing with a character of (literally) infinite dramatic potential. Acting/Script: I like Routh's Superman, but only because I buy into the proportions of the character. I'm willing to suspend certian vital criteria in light of the fact that--really--Superman and Clark Kent are caricatures. Even in the comics. There's a life form in there--an alien, a god trying to cope with, live in a world below his powers--that's the interesting character. Routh seems to understand this (Singer does, at least)--it's in all the big beats (the romantic set pieces, the family drama), written deep into the narrative; it's arguable that Routh hits each and every one... and if you didn't notice the change from the Reeves version, then you probably weren't predisposed to look for it in the first place. -And shit, it's a superhero movie. I get my dose of Godard on the weekends. But I'll be damned if my three-year-old heart didn't skip a beat watching Superman lift a continent. Coming from a relatively young (and far less mature) member of this BBS--it's pretty cool.

He did a killer version of the title track at Yoshi's a couple of months back... my girlfriend was thrilled (even proclaimed, walking back to a late BART train, "I think I'm starting to get it!"--jazz, that is. This one may last...).

Ummm... I think I need this, as a collector of all things Earl Freeman. By the way, ep1str0phy's review of the Isipingo at AAJ is nice! Hey--thanks. No one seemed to be writing about it (although it appears some of my commas were replaced by prepositions, but hey-). By the way--is Freeman's discography even that large? I can't recall seeing him on more than a dozen (probably less) discs...

Wally West Kyle Rayner Connor Hawke

I'm presently trying to digest Jost's Free Jazz, Russell's Lydian Chromatic... textbook (Vol. 1 of the--supposedly--'final' edition), and Teodoro Agoncillo's A Short History of the Philippines. The latter represents an attempt to reclaim my ethnic origins well beyond the (infinitely more) factually relevant bases of the family circumstances. Also--reading my girlfriend's copy of The Unbearable Lightness of Being. Ugh...

Actually wasn't being sarcastic--just curious as to how 'involved' the members were back in the day (I know a few standbys practically always return). But hey, playing this music, it's hard for frequent to be frequent, dig? Nice that they're around, anyhow. -_- So this thread is making me rethink turning down this set not too long ago (out of curiosity, anyhow).

Yes, I know we've gone down this path before. That said, I'm having a hard time shelling out Conn.-type prices just end up with a CD case in worse shape than my old 1980's issue CDs. It really sucks. Yeah, I've tried all the tricks to get this stuff off, ect. From now on, I'm not even peeling this stuff off. I'm slitting it across the top and forgetting about it. It's really bullshit. Well (to offset a little bit of the smartassness that is bound to and has already come out of this thread-- ), it's been pissing me off, too. Essentially all of the newer Blue Notes are just bitches in the way of adhesive.

Jus wondrin--just how permanent was/is this lineup?

Seriously--I don't hear people say this enough. And good call DMP--hadn't thought of it that way. There's a sort of 'stiffness' to that early studio recording, and I'd love to hear what Herbie, Cedar (etc.) might've been able to do with it (no offense to Barry of course--he's just a stone bopper).

Bill O'Reilly Sean Hannity Rush Limbaugh Sammy Baugh Y. A. Tittle Hey diddle diddle Gato Barbieri Pharoah Sanders Frank Lowe

Man, I would stare at that cover for hours, back in the day. Nice to see so many fans of the Tolliver stuff.

When was the last time Globe Unity was a regular band? Probably before I came into the music...

And so it begins...

I got a mini-LP copy years ago (it's the Universe--a division of 'Comet Records,' apparently). It's wrapped in what the label calls a 'karmapack'--shaped like your average mini-LP sleeve, but hard as rock (this is tough, tough binding--compare this to Ogun, or even those Savoy reissues... much tougher). Nice to see so much enthusiasm, though--this may be my favorite Joe. The Blue Notes have that special, first-time polish, but there's fire and mystery to this one--hard and worldly (nothing 'easy' here--even the ballads sound a little tense). Also--there's a fine version of 'Lazy Afternoon' on this one... I thought Grant Green's version in 5/4 had totally demolished the tune for me, but Joe works some magic. Beautiful stuff.

Tom McCann Buster Brown Willie Shoemaker Tommy Dorsey Buster Williams William Parker

They weren't mediochre boogaloo albums; they were MFin' GREAT boogaloo albums. And YES ! I'm damn sure it's going to be in that vein. Looking forward to it greatly, thanks. MG For those familiar with the material--how do the Mozambique sides stack up? As far as I'm concerned, the Green of this period oscillates between insipid and utterly galvanizing. A big fan of Alive! and a sort-of fan of Lighthouse (some of those compositions--if not performances--leave me cold). But yeah, for what they are, they're the best). Not bad on the cover art, BTW.

A pity so few will have the disposable income for this one--I'd like to hear some comments, too. -Looks like I've been beaten to the punch--nice to hear some people have access to this stuff.

I find Sirone's bass to be fairly well-defined on the reissue, if (still) a little plastic here and there (at times, he's got monumental plucking pressure--makes for a unique, if often rough sound). Inevitably, Jackson swallows up the show here and there (although I'm a huge fan of his work--even in these 'jazzier' idioms... an awesome addition to the Ayler group, for a time).

Sadly, Mike Osborne stopped playing many years ago, on health grounds. A talent that is sadly missed. 'In Cahoots' is the Soft-Machine/Hatfield and the North-ish group led by Phil Miller and Pip Pyle and which often featured Hugh Hopper and the late Elton Dean. Another under-rated group. Real shame about Mike Osborne...had harboured hopes of getting him out for a gig! Wonderful player, who I'm only just getting into. I'll have to check out 'In Cahoots'! Real shame... Osborne's alto was (is) one of the most startling sounds on the Euro/SA scene--a talent on the level of few advanced saxophonists. Anyone hear the trio album with Miller and Moholo (I'm looking into that one, too)?

Excellent album--hope you enjoy it (I think it has its fans on this board).

X-Man X-Phile X-cutioner

What label is it on? It's a CIMP, recorded Jan 2005.

Try listening to Sidewinder full blast in a red 1987 BMW M6 speeding down Laurel Canyon and you will become a convert in about 10 seconds. ...that, or a heap of metal and flesh somewhere off the side of the SF Valley hills (I was driving Laurel day before yesterday).

Rip Van Winkle Sleeping Beauty Hamlet

Those sides are sick. The pianoless cuts are favorites of mine.