Chas

FWIW , the Koch CD I have has the programming of the original LP , and so the funk tracks are not at the end .

Any exploration of non-rock/fusion acoustic Randy Brecker , has to start with his debut record Score on Solid State . Notwithstanding the dated cover art , this is as decent a straight-ahead jazz album as you'll find from 1969 . Brecker reveals an affinity for Davis and Farmer , his lyrical playing shaped by some melodically attractive writing . Two attempts at a funkier more commercial sound are however undistinguished , and ruin the flow of the album .

Franken-Tatum and ,

Her first lp on Zephyr 'It's About Time' , is made up of tunes containing 'time' in the title , and contains a tune called 'Coffee Time' , so I think that explains your recollection . Given that era's propensity for punning titles, it's a wonder there isn't a record matching your recollection titled , "Café Olay' .

Adam's pique may stem from a conflation of 'shyster' with 'shylock' http://www.worldwidewords.org/qa/qa-shy1.htm Tim , may I suggest you take a look at the Frank book that I posted upthread .

"Handmaded'? Alexander , tu scrivi l'italiano molto bene ?

The raised rim is a groove guard which makes it easier to stack records in a record changer without scratching them . With the label and outer rim being higher than the grooves , the resulting concavity does however introduce additional tracking errors not found on flat discs .

A jaw-dropping effect when used on Chin-Chin-Che-ree or Capuchin Swing

If we want to go beyond appreciation to understanding , then an 'everything is everything' attitude gets us nowhere . This is not to suggest that any particular type of music is truly sui generis , since musical categories , like Venn diagram sets , intersect , but rather that such intersection does not invalidate our use of such categories in our attempt to understand music . Nor should we avoid taxonomic questions out of fear that they might contribute to musical parochialism , for our affect is not so constrained by language . So far , the poll results evince a certain postmodern skittishness about ordinal rankings . This is somewhat curious , for while such rankings implicitly reference a telos , it is subjectively determined , and as such , of no threat to anyone's musical enjoyment . I am skeptical of the equal preference plurality , and I think a question such as , " After jazz , what music do you listen to most frequently ? ", would provide a truer measure of people's preferences .

Right now it's only a notion, but I think we can get money to make it into a concept ... and later turn it into an idea. You already have your answer !

This alteration reminds me of the time I saw the joint listed as , " Shelly Manne's Hole " ................ kinda gave new meaning to , 'intimate nightspot' .

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The statistical disparity in the gender of jazz aficionados is not probative of sexist discrimination against female jazz musicians . If anything it gainsays such a claim , if we assume that appreciation precedes musicianship . The only valid inference from the statistical disparity in the gender of jazz aficionados is that it is not the result of some aleatory process . A claim of discrimination based merely on this disparity amounts to question begging . What cogent arguments exist for the claim that it is sexism that prevents women from becoming jazz aficionados ?

Alexander , since you're a Lee Morgan fan starting to explore Clifford Jordan's work , it is utterly imperative that you get a hold of Morgan's Take Twelve date . This has long been one of my favorite dates by Lee ; excellent tunes , excellent work in support from the rhythm section of Harris , Cranshaw and Hayes . This is the record that made me take notice of Jordan as a stylist .

Blasphemy to jazz fans , but did Eicher and co. worry that the original cover might be blasphemous to Hindus and Buddhists ? Now granted , the lotus is associated with divinity , and Bennie is not a divine or sacred being , but neither is he depicted seated in lotus position , and anyway , isn't it only the Abrahamic religions that take such offense ? What else could possibly have motivated the change to that horrid cover ?

Opposition to culturally-relativistic aesthetics need not rest on Platonic metaphysical assumptions , as it can arise among those sharing the desire to naturalize aesthetics . Many wishing to naturalize aesthetic values stop at the cultural level instead of continuing down to the level of human nature , largely out of antagonism ( rooted in political commitments ) to what they see as the essentialism of such a concept . Evolutionary psychology has helped provide an explanatory framework for studies demonstrating cross-cultural , trans-historical standards of beauty ( both of persons and of landscapes ) , so why are we to suppose that something similar could not be possible with musical aesthetic values ? If we accept the psychological nativism of Chomsky's linguistic universals , aren't we obliged to be open to the possibility of aesthetic universals ? Strictly speaking such an aestheticism would not be universalist or absolutist , since it would still be relativistic in the sense that it would be relative to human beings and the contingency of their evolutionary development .

I posted Tony Williams' drum solo from this performance earlier in this thread , but here is the complete performance of Stan Getz , Chick Corea , Stanley Clarke and Tony Williams doing Corea's " Times Lie " at Montreux July 23 , 1972 : http://www.youtube.com/watch?v=NVnjakwFeTU

" Even apart from the lyrics...." A pretty ironic comment from a group of instrumentalists , though one consistent with a pop sensibility with its over-emphasis on lyrical relevance reflecting a callow presumption of the uniqueness of its own psychological/affective mindscape . Music as art ( or that which endures) , is not concerned with "the current human condition" , but rather those universal aspects of human experience that are not capturable by necessarily time-bound lyrics . Opera for example has endured not because of its lyric content , but in spite of it . As music-making has evolved , the transference of emotional resonance from words to sounds has allowed for greater communication of nuance and complexity not to mention more interpretative , projective , personalized listening . Anyone can make invidious comparisons between individual pieces of music (particularly on the basis of lyrical content) , but on the whole the songcraft embodied in earlier forms of popular music is superior to my mind , the PoMo mantra , " It's all good " notwithstanding . Not universally true , though our present 'arrested development' culture wherein thirty year-olds ride skateboards and play video games , makes me fear this may be true

Joe , had you spelled Hal's name correctly you might have discovered that we were apprised of Hal's whereabouts quite some time ago : http://www.organissimo.org/forum/index.php...st&p=461526

Teddy Edwards

And why exactly would Fresh Sound owe any royalties for your father's performance over and above those owed based on his authorship ? Imperial Records themselves no doubt only paid mechanicals , not artist royalties , in this case .

I certainly would not start an exploration of the Swingville series with that one . It's a rather dull , uninspired record . A far better starting point is Budd Johnson's Let's Swing , with positively magisterial playing by Budd , and a fine supporting cast . Edit : Someone should go here and grab the Hal Singer for $4.99 .

You need to leave one of the car windows open a crack if you want home delivery

What "recent revelations"? http://www.organissimo.org/forum/index.php...=34163&st=0