Rooster_Ties

I'm 99% sure Contours was a Conn, and not an RVG. Edit: By the way, I'm not nearly as pissed about Fuchsia Swing Song coming out as a Conn -- as long as that sucker comes out as an RVG shortly after the Conn of it goes OOP. And since quite a few OOP Conns have been coming out as RVG's lately, then I don't blame BN at all for trying to sell a bunch of them first (an entire Conn run's worth) at the higher list price. If doing that helps them release more obscure stuff (stuff that won't sell all that much), then more power to 'em.

I was pretty surprised (and pissed too ), that this came out as a Conn instead of being part of the RVG series. Edit: In fact, how did it take them so damn long to get this one out stateside in the first place??? Why wasn't there a McMaster of this back in the early 90's?? Or how did it take over 10 series of Conns for it to come out stateside?? Yeah, I know, it was part of the Mosaic -- that's probably the reason. Still, it should have been an RVG. It should have been an RVG.

Me too.

Anyone have any pictures of her that they could share?? Don't know that I've ever seen any personally, unless I'm forgetting a key image from one of his more obscure LP's.

Very sad to hear. One of the most beautiful tunes of the last century (IMHO) was named after her. I'm sure she must have been a mighty special lady. Many condolences to Sam and their family.

Who be on it??

I think it's always gonna be due "next month".

Maybe there is a setting so that only 7/4's posts combine?? Maybe set the limit at 1 minute, and see how that goes for a week. Most people can wait a minute to get their "2nd post" in, if they really want two separate posts. But having it set at something (though a small length of time), would prevent a chain of 10 or 20 one-line posts, unless someone REALLY wanted to take the time for that sort of thing.

wunderbar!!!

Thanks!! Enjoying part 1 (of 4) now. Haven't heard enough Curson (just a few things, here and there), and know next to nothing about his history and background - now that I think of it. Edit: Love the cut with guitar from part one of the radio show, around the 16/17:00 mark. Damn, had no idea it was such a recent recording (the album Sugar 'N Spice, recorded in 1999). Many thanks for back-announcing the tunes, and players.

Saw Ra with the Arkestra but once, in Chicago circa 1990 -- sometime after his first stroke. Since then, I've heard the Arkestra sans Ra three or four times, all here in Kansas City. Sun Ra was one of my first exposures to jazz, from my uncle - who used to talk about a couple Arkestra performances he saw in Chicago in the late 70's and 80's. When I took the Jazz History 101 course back in college (circa 1989), I did Sun Ra for my final project/paper. Didn't know what to make of any of it in any real sense, but by then I had heard a good half-a-hundred hours of Jimi Hendrix bootlegs by - so I at least had some experience listening to somewhat "out" stuff (relatively speaking). I'm sure my final project was pretty lame, but everyone has to start somewhere. (Also, it was kinda cool to be doing it on a subject area the professor didn't know a whole lot about. )

Hell if I know. My one copy of Carmina is MTT with the San Francisco Symphony and Chorus – a recording from the early 90's if I remember correctly. Pretty happy with it, though I have no idea how it stacks up to other recordings. When it comes to classical music, I'm one of those kind of guys who buys a copy of something (a particular version), and if it suits me OK – then I usually leave it at that. Can't say I've ever heard more than two or maybe three different recorded versions of anything, other than a few pet works (Berg's Lyric Suite, for instance), where I've gone out and gotten three or four versions. Same with Schoenberg's Pierrot Lunaire, and his mid-20 opus numbered works for small chamber groups (5-8 instruments, usually winds and strings). That, and a handful of works my wife and I both love (Grieg’s string quartet, for instance). But other than about 20-25 works, I usually try to buy something good – and if it in fact turns out to be a good recording, I leave it at that. God, I’ve got 1,000+ classical CD’s at it is. I can’t imagine having several multiple recordings of even 100 or 200 of them.

Someone asked before what I played. I'm just a professional symphony chorus person, I'm afraid. Get to sit right behind the French horns sometimes, which gets really loud on occasion. Right behind the brass is pretty loud too (and I'm usually in the front row of the chorus). I probably rarely "need" my professional custom earplugs in performance situations, but they're a godsend when going to rock concerts and such. Wouldn't be caught dead without 'em. I don't use the 25dB filters all that much, usually just the 15dB ones. I've been known to take them to jazz concerts at particular venues as well - where I know the whole thing will be way over amplified. I don't mind loud, but some places really crank it up WAY beyond all reason. The other thing they're good for is a nice 45-minute snooze during the first three movements of Beethoven's 9th, before the chorus comes in half-way through the last movement. (Don't think I'm kidding either, cuz I've done it a time or two over the years. )

Uh, isn't that the queen-mum??

Hello, earplugs?? And no, not those cheap foam things. Professional-grade musician's earplugs, that cut all frequencies equally (or roughly equally). They're custom fit to your own ear canal. Mine have 15dB and 25dB inserts (that cut the overall volume by that much), and I suspect you can probably get 35dB inserts too. They're not cheap (probably $200), but they're worth their weight in gold.

FYI, from Jazzmatazz (no release date yet, 'cept "2006 and beyond")... The Nels Cline Singers - TBD (Cryptogramophone) — tribute to Andrew Hill — with Bobby Bradford, Andrea Parkins, and Ben Goldberg

Thanks Mike. LOTS there in your explaination that I didn't know the specifics of. Although more generally speaking, I was pretty sure the origin of this pattern predated it's use in jazz. That said, I probably should have been more specific in my first post, and said... How early was it first used in jazz?? When did it become semi-ubiquitousin jazz?? Thanks!!

Was out listening to a favorite local band tonight, and they played a tune with this very common rhythmic pattern (on a fast tune)... 1 2 3, 1 2 3, 1 2 // 1 2 3, 1 2 3, 1 2 // (rinse, repeat) And getting in the car right after, I had a random Strata East disc in my car stereo, and what came on - but another tune based on that same rhythmic pattern (something off one of John Gordon's Strata East dates - the one with Tolliver and Cowell on it). I'm sure there are nearly 100 jazz tunes with this basic pattern (maybe more). And most often only the "1's" are stressed (one fast tunes, in particular). I hear this all the time in various hardbop contexts, particularly in the 70's and after. But I'm pretty sure I've heard it in the mid-60's too, maybe even early 60's and/or late 50's?? (Maybe some Jazz Messengers, circa 1960??) I'm sure I've also heard it a bunch on dates with Woody Shaw in the 70's. Where'd this rhythmic pattern come from?? How early was it first used in jazz?? When did it become semi-ubiquitousin jazz?? (edited to add the "jazz" focus of my last two questions)

Well, this is 10+ years ago - but didn't Nirvana cover a Led Zep tune or tune in their early, early days? Nothing officially released (originally) - but the recently released basement tapes box-set. But that was then, what about now?? Most likely something by R.E.M. - I would imagine.

Yeah, that's a good point Joe - about the length of Carmina. There's really only about 25-30 minutes of unique material there, drug out to an hour with plenty of repeats.

Where's Quincy Troupe when you need him?

Re: Little Wing... Played-out on guitar, I'll grant you. But in acoustic jazz settings?? Particularly with piano -- sure not played-out there. And certainly not played-out with jazz audiences either, I wouldn't think. Many of them probably never even heard it. And those that have, probably haven't heard it in years (or not much anyway).

Actually, just found a QT alternative codec (http://www.free-codecs.com/download/QuickT...Alternative.htm), which seems to work great. They had a version for Windows 98/ME/2000/XP. Watching the footage now. Damn!!! ===== Love the ending. Awe...

As a professional symphony chorus singer (for the last 10 or 11 years), I've sung Carmina way more times than I care to have. I turn 37 in March, and going back to my college days - think I've sung in nearly a dozen different productions – practically all with 3 to 5 performances each. Pretty sure we did two or even three different staged versions with the Missouri Ballet, which both included matinee and evening performances both on Saturday and Sunday (plus Thursday and Friday night too). Singing this thing four times in 30 hours -- talk about a gut-buster!! Somehow I went 3 or maybe even 4 years without singing it at all recently. But then, suddenly it was back again - like a stray cat that keeps coming back for more food, cuz it's cute, and I guess that's why you keep feeding it. But then much to my surprise, this last time I did it (after the 3 or 4-year break), I found myself really enjoying it, more than I ever expected to. Kind of like slipping on an old favorite jacket that's too worn to really wear out and about any more. But you and it have been through so much together, and you still like to drag it out every once in a while. Back when I was singing Carmina about once every 18-36 months, it got really old. But there's no mistaking the sheer effect of this piece on audiences, both low and high. I'll never defend it as being a really "great" work, but -- damn it -- it does seem to connect with people in a way that probably propels it into that "great" status, more than I'd ever care to admit.