wesbed

I've learned that I do prefer the Invision bulletin board software. I missed the hell out of the 'Today's active topics' link. I can hardly navigate without it. >my AAJ post< Frack!

Hmmm... nice and cozy on THIS board. B)

The Bennie Green Select listed at Amazon: >link< Damn, at a price of just over $22 per CD. Maybe the shipping is free?

Concerning Rooster and Moose; a single person couldn't make that many posts and keep them all organized.

Hmmm... I've been listening to Mosaics and playing on the computer for many hours (about 12 straight hours so far). Yikes. Maybe I'm starting to 'see things' at this point? I'm looking at the liner notes for the Elvin Jones Mosaic. The Mosaic manual lists set 'K' as containing the tunes The Whims of Bal and The Prime Element. When I look at the back of the CD cover, it lists set 'K' as containing the tunes At This Point in Time and Currents/Pollen. Set 'K' is flip-flopped with set 'M' when comparing the CD notes to the manual. Not a big deal, but a noted Mosaic typo. Again, I'm a bit cross-eyed at the moment and may be interpreting information incorrectly.

Yeah, in my stomach, the 'trash depository.'

My dinner tonight. Mmmm... Mmmm... good.

This reminds me of... well, 'me.' garthsj and I are of different generations. 'What we were listening to jazz instead of' was different. Our habits, on the other hand, were the same. For me, rather than listening to Hall & Oats and U2, I was grooving with Miles and Brubeck. Rather than listening to Phil Collins and Madonna, I was feeling content with Ella Fitzgerald and John Hendricks. Again, younger and older folks are 'linked' with this music we call jazz.

I got my JJ today. I'm currently on a second pass through Disk One. Everything, so far, is quite good. Simply, fine music. It makes me feel that the world is peaceful and it's a good time to be alive (always a good sign for music). Not too crazy, not too dull, but, a very good mixture of both. The music seems mature, adult, and well-played. My first surprise: Bobby Jaspar on the sax. Why have I not heard of this guy? AMG says Jaspar died, early, from a heart ailment. What a great combination, Jaspar is, of East coast and West coast jazz. His tenor displays the 'cool' of the West with the 'bite' of the East. It's too bad we don't hear more from Bobby Jaspar. Disk One of the JJ Johnson Mosaic contains one of the best version of 'Angel Eyes' I've heard. This version of 'Angel Eyes' also inludes Elvin on the drums.

You get scraches for your car's CD player?

Why hasn't there been more talk, in general, about Joe Farrell? He simply tears it up on Disk One. Farrell plays tenor sax, soprano sax, flute, even a piccolo (session A). All backed up by Elvin on the drums and Jimmy Garrison on the bass. Farrell is amazing.

I remember ol' Ed Swinnich tearing them a new one in the last days of the BNBB. I suppose I don't need to open old wounds. But, well, Ed's comments were darned funny at the time. I could 'feel' his anger and frustration. His words spoke for me. Ed Swinnich: Welcome back to the Organissimo board. It's good to see you, here, again.

Yeah, I wondered the same thing. There is some discussion here. >link<

If you buy RVGs (I buy them all), you can hear an acoustic bass that sounds electric.

I agree 100%. So much of the time, though, the electric bass, to me, is not played well. As a result, I tend to prefer the acoustic bass.

I don't miss the BNBB. I much prefer Organissimo and would have a difficult time going back to the BNBB if it were resurrected. However, I do wish we had all the history found in the various BNBB threads. For example, you could do a search on nearly any RVG, at the BNBB, and find threads discussing that RVG. The RVG threads were all there, on the BNBB, and were created as each RVG was released. The same thing is happening at Organissimo, slowly, as the new RVGs are released. Unfortunately, the older RVGs don't get as much coverage (they've already been discussed at the BNBB).

I'm listening to the Johnny Hodges Mosaic as I type these words (newly arrived today!). I'm enjoying this box very much so far. Very Ellingtonian, for sure. On Disk One, Black And Tan Fantasy, who is playing the muted trumpet? Ray Nance or Clark Terry? The liner notes don't make it clear (it appears there has been some confusion in the past?). This is some of the best muted trumpet I've ever heard. It sounds like the player is, literally, talking through his instrument. As if he is saying real words rather than musical notes. Very nice.

I listen to 'old folks' music on a daily basis. I'm listening to some 1956 Johnny Hodges, from the Johhny Hodges Mosaic, as I type these words. Yeah, I've even read the 'old folks' Louis L'Amour books on occasion. From a 'technology' perspective, I was born at a great time. From an 'art' perspective, I often get the feeling I was born too late. I do enjoy the 'link to the old folks' that I experience with jazz. I was speaking to a guy at work. He is about 25 years old. I mentioned something about Miles Davis. The person at my work replied, "Oh, you like that old school crap?" I had the odd thought, "No, Miles Davis is more contemporary, actually. Jelly Roll Morton, he might be more old school." It just goes to show, how far out of the current musical loop you are, if you, like me, spend most of your listening time drenched in 'old folks' music.

Damn it all to hell, man. Play, Mr. Elvin, play! Disk one, so far, with Elvin Jones, Joe Farrell, and Jimmy Garrison. Elvin is right there, as usual, with the comfortably intense drum support. Filling the fore and back grounds with, what sounds like, three times the number of drums he's actually using.

I believe, one of the very strong aspects of an art, topic, hobby, practice, or thought is if said subject becomes non-generational. If it can speak to several generations of people in the same way. I think Lon is correct when he writes that certain things can skip a generation, and appear in the next. When I listen to jazz from my favorite period (which continues to encompass more and more years), 1925 to 1965, the music seems very non-generational. As if it was recorded just yesterday, by people of my own age group. To my ears, the Beatles sound much older and more dated than, say, John Coltrane, Miles Davis, or Thelonious Monk. Even Louis Armstrong's 1920's material sounds less dated, to me, than Elvis or Buck Owens or Tears for Fears. When I hear vintage Hank Williams, my thought is, "damn, that's old." When I hear Armstrong from the 1920s, however, my mind opens and the music appears very modern and stylish. Another artwork that seems completely non-generational is the Lord Of The Rings trilogy.

My copy of the Elvin Jones Mosaic is number 2026, delivered to my front door on 5/20/04.

I received my Elvin Mosaic today. The box is open but I've not yet cracked the seal on the first couple of CDs (I'll be listening to the music in the next couple of minutes). However, the Mosaic manual has lots of nice pictures of Elvin. I especially like the Elvin picture on page #4, beating the drums, smoking the cigarette, and covered in sweat. The manual seems very much of an historical and important document when considering the recent passing of Mr. Jones.

I am not an age-sensitive person. I don't care how old a person is. At the same time, I realize that 'age' exists. I'm 38 years old and I have a very good friend who is 61 years. I had some breakfast in a local Tucson eatery this morning. Tucson, due to its warm climate, often attracts those members of our society who are of the 'older' and retired group. I was eating breakfast alone, so, was spending my time observing others in the restaurant. I noticed that a few of the 'older' men were reading Louis L'Amour paperback novels. Not that Louis L'Amour's books are necessarily 'old' or 'dated,' however, I often notice older people reading his novels. These are the books that these people grew-up with, and are accustomed to. At the same time, it made me think of Louis L'Amour as being an 'old folks' interest. My 'old folks' thought about Louis L'Amour lead me to another thought. That I, while not yet being an old folk, listen to old folks (jazz) music most of the time. The people I know, who are currently in their 20s and 30s, don't listen to the old folks music, don't care about it, never heard of it, and have no appreciation for it. Some of the old jazz (for example, the 'with strings' sessions on the Bud Shank Mosaic Select, some Lester Young, or Red Garland) may even sound like 'old folks easy listening music' to the un-trained ear. Not that the music sounds this way to me. Most of the music I listen to was recorded sometime between 1940 and the 1960. The recent death of Elvin Jones reminded me of just how old the music and the people who made it have become. While I've never considered the music or Elvin Jones to be 'old,' he did live a good full life till he died, as an 'old folk,' at 76 years of age. Next, I had the thought that Louis L'Amour is no more 'old folks' than the music that I listen to. Certain things are generational and people of that generation enjoy the things they are familiar/comfortable with. Those of us who listen to the old jazz music are the odd ones who cling to the old music and enjoy & discuss it as if it were the latest, in-style thing. The common tie between the old music, the old players, and myself caused me to believe that the music is not old and the players are not old (even though Elvin Jones died at an age old enough to be my grandfather). It's a nice thought that I can grab on and relate to something and certain people from the past, people who are now old enough to be a grandparent. Yet, it seems very normal and non-generational. As if the past is still speaking in the modern day, and all is well. I was left with the question, in my own mind, as to what the next generation will think of my 'old folks' interests when I reach the 'old folks' age? What will the next generation of 'young folks' label as being an 'old folks' topic when I become an 'old folk?'

Was there a number on the receipt?

I remember a guy where I work, back in 1997, who played 'Wait' by White Lion, for three days straight. He had the song set to repeat, playing it through his computer speakers, lightly, for three long days. I didn't like the song initially. I like it even less so now. He shut it off only when I turned around and said, "You know, it's been three days." He knew of what I was speaking and put the CD away.