Rooster_Ties

Here's one they'll cherish for years to come!!!... "Flavor Flav" Alarm Clock · Talking Alarm Clock · Six Alarm Phrases: "Rock That Shit Homie", "Get Up a Git Git Git Down", "Yeahh Boyee", "Yo, G, Yo,", "Bass For Your Face", and "Fight The Power." Only $85.00!!! Buy One Now!!!

If not, it at least must be getting close. I'll have to start looking for one...

DTMX, how many discs is that set?? I'll have to look for it. Don't suppose you have a link, by any chance?? I'll probably try to look myself, later tonight...

Chuck, I am quite interested in what you can tell us about this. First, has Rudy himself ventured an opinion/evaluation on the subject, i.e.as to whether he considers his RVGs superior tot he JRVGs? Second, as an experienced record producer yourself, what do you not like about the JRVGs? and conversely, like about the RVGs? I have many of both and am generally pretty happy with most of them, so have no strong feelings one way or the other. As I've said, I don't have a dog in this fight (I neither own, nor have ever heard a JRVG before), but I'd be currious about your perspective on all this too, Chuck.

I voted for St. Louis, only because I could get to St. Louis pretty easily (from Kansas City), and my folks still live there too - so I'd be set for having a place to stay and all. My wife and I go to St. Louis fairly often too. (And the odds of me getting to Lansing anytime soon, are probably pretty small - much as I might like to.)

80% listener, 20% collector. I never give a rat's ass about getting the "original" or more "valuable" version of anything. I'm mostly all about the music. I don't care about getting LP's, as CD's are quite good enough for my purposes. Now when it comes to a few things, I will admit that I probably have picked up some titles that I might otherwise have not gotten, if it weren't for the completest in me. And I've laos picked up some Blue Note dates that I probably wouldn't have been as quick to purchase, if they hadn't have been on BN. But other than that, I'm really probably 80% or even closer to 90% a LISTENER.

I was slightly slow to warm to this (and Dolphy in general), so this will be a good one for me to reevaluate too. I do like it, and always have liked it at least to some extent. But I don't think I've ever really gotten bitten by the Dolphy bug. I understand why others have, and intellectually I understand why he's so important. But for some reason, I've just been slow to warm to his sound. (I can dig it, but I probably haven't yet really DUG it yet - even after all these years.)

You guys are killin' me!!!!

Laws of Physics??? We don't need no steenking laws of Physics!!!!!!!!

Hasn't that pretty much been the problem for at least the past 10 years???

All from that same site...

From the same site. Go to their "home" page, and surf around...

SOURCE (And there's lots more!!!) SOURCE (And there's lots more!!!) SOURCE (And there's lots more!!!)

Word!!

I like the Miles discs, but haven't heard the others. Miles and Wayne both come from the jazz world. I'm more thinking about people who created 'pure' fusion, who DIDN'T come from the jazz world particularly. (If anything, my notion is that many of them came from the prog-rock or art-rock world.) Don't know that particular Wayne album, and haven't a clue what "Material HALLUCINATION ENGINE" is, but will look it up shortly...

Let us all know!!!! The suspense is killing us!!!!!

Anybody remember "Tribal Tech" with Scott Henderson?? I never got that band, at all - but I remember there being a rabid crowd at a local jazz bar here in Kansas City (shortly after I moved here, so in about 1995) - FYI, that jazz-bar also booked "jazz-related" acts ("Fusion", "Smooth", "Soul Jazz" etc...). Man, "Tribal Tech" brought some serious fans out of the woodwork, and they all seemed to be closet musicians too - from the look of the crowd (I know, how do closet musicians look?? - I can't explain, it was just an impression I got from reading the room.) I could never understand the admiration for the "serious fusion" musicians (by amateur musicians), who focused all of their devotion to those with these (supposedly) mad technical skills -- but who often created some of the most "lifeless" music I've ever heard. Not all of it was totally lifeless, but it seemed the more devotion a cat garnered from other amateur musicians interested in "serious fusion", the less they spoke to me. In other words, the more fanatical a few of my friends were about somebody, the less likely I was to find anything meaningful in their music. Or so I remember, at least. PS: I was at that Tribal Tech show, cuz I helped out at the jazz bar. Didn't ever get paid for it, but I could drink all I wanted (within reason) any night of the week, and I got into any show I wanted for free. That, in exchange for collecting the 'cover' at the doora couple nights a week, and helping out behind the bar during shows (especially the shows I wasn't interested in hearing all that much, Norman Brown, and such...)

I just listened to all the samples from the Wackerman CD (see link two or so posts above this one), and it's weird -- I can appreciate this music a little bit, but at the same time - it really leaves me pretty cold. Yeah, Steve Gadd’s name came up back on that board a bunch too. Many pro, many con. To me, these guys all seemed like they were incredibly talented, but that they were using their talent mostly for purposes of evil, rather than good. Not that I thought jazz was the only "good" way to play, but rather that there was something incredibly calculated about most of the playing by most of the drummers mentioned already in this thread. Calculated, and robot like. (And somehow, at least for the Zappa drummers already mentioned in this thread, it WORKED in that context (with Zappa), but it didn't do shit for me in other contexts.) I haven't listened to very much of this kind of music in years, and I only dabbled with it even back then. I just remember there being a whole bunch of people who were all into "serious fusion music" back when I was in college, circa 1987-1993 (and before you do the math, I got two bachelors degrees during that time, and I graduated on-time with the first one, in exactly 4-years, so back off!!! ) Is there any "serious fusion" from the 80’s and 90’s, that anybody here really thinks is pretty amazing stuff – even in retrospect?? Amazing in terms of technique, perhaps – but does the music still speak to you?? Has it aged gracefully?? Or has any of it “stood the test of time” very well??? (How’s that for getting the topic better defined, Joe.) Edit: I don't mean to focus only on the drummers, but rather the whole genre of "serious fusion" in the late 80's and 90's. But obviously the drums were a big part.