Rooster_Ties

To further clarify, RonF, you weren't saying "all men are potential rapists" (although you did just say that, literally), or in other words "every man is a potential rapist". (I should have been more clear myself, my apologies.) Both of those statements (as I've just reworded them) are really what I was getting at before, and both are statements I've heard and read before. I'm probably still not being totally clear... I know this is wordy, but this really gets at what I think you might (or might not) have been saying: "Collectively, every man - meaning the entire male half of the human species - has the real and actual potential, within each and every one of them, to rape, and be a rapist." Or if you're simply saying that rapists can be of all shapes, sizes, colors (races), income-brackets, GPA's, etc... ...then you and I are in total agreement. I hope you realize that I'm not trying to start a big argument, and I only want to take this line of thought further if, in fact, there's a need to. Thanks!! - and I appreciate your patience with me in trying to sort this out clearly, rather than this turning into a flame war for no good reason (possibly). A lot of this has to do with semantics, and rather than blindly think you said one thing, when you meant something different, even subtly different - I'd rather make sure I don't 'go off' without good reason. Peace. (I know, this is some heavy shit - but without voice inflection, it's difficult to get to the subtlety of what I'm trying to get at.)

Amen, right back at you Moose. I don't whether to take the time to dive into this, and back it up with some heavy quoting from some of my favorite male "gender issues" authors... ...or whether to ignore this thread, and vow never to open it back up again. I'm torn, and leaning towards the latter choice. But unfortunately, I feel some duty towards the former choice as well.

RonF, would you expand on what you mean by this statement?? In particular, I'm wondering if you're suggesting something along the lines that "all men are potential rapists". (A statement that I've heard and read in other contexts.) Or if you're trying to say something else, please explain. I want to understand you viewpoint on this. And I'd like to be clear about what you're trying to say, before I respond. Thank you. -- Rooster T.

I voted for "Grantstand", but like Conn500 - I'm not laying awake at night thinking of any of 'em. And of the next batch of RVG's, "Mode For Joe" is the winner for me.

Maybe the best batch of Conns ever, IMHO.

You're kidding, right J-Mo?? If not, where ya been??

Last time I checked, this was a 'criminal' case - not 'civil'. And I have a hard time believing this case would be followed by a civil suit, though I grant that stranger things have certainly happened before. More than anything, I just wish people would shut the fuck up about this case, and let it play out in the courts, hopefully behind closed doors. About 95% of that statement is directed at our beloved press (primarily broadcast media), though I've reserved about 5% of the statement for future use, depending on how long this thread gets.

I'd get the Wilson, but that's just me. If you think there's any chance you'll get both someday, then by all means get the one that's going out of print first now.

Evil, pure evil!!!!

Also, I might add that Hill's "Lift Every Voice" from 1969 and 1970, has grown on me like a huge patch of moss on an enormous tree in a very wet and humid rainforest. And "Dance With Death", along with the '69/'70 sessions (LP #2) of Hill's "One For One", have both grown on me quite a lot too. I'd be celebrating the release of any previously unreleased Hill (from any year), but to get to hear some more of what Hill was up to in 1969, with that line-up!!! - is almost too good to be true!!!! - at least in my book. In fact, to say I'm almost frothing at the mouth in anticipation of "Passing Ships"... ...is almost an understatement.

I'm sure it will. If it didn't, that would break a pretty huge precedent of including all the "releasable" unreleased takes from a particular session, especially if there's space to include them on the same disc. I'm sure they'll be there.

Under any other circumstances, I would have voted for "Mother Ship", a thousand times over. (I was lobbying very hard for it's reissue as a Conn, back on the BNBB.) BUT, for this poll, I had to go with the Hill. I already own "Mother Ship" as part of the Larry Young Mosaic (although I plan to pick up the Conn too), and the Hill is otherwise unreleased (and from 1969 at that!!). I would have voted for the Hill, no matter which unreleased session it was, but the fact that it has both Woody Shaw and Dizzy Reece on it, makes it potentially the best release from this entire calendar year, in my book This is probably the best batch of Conns I've seen in several years, based on my own particular tastes.

OMG. How shallow is that!! Man, you'd think if somebody was gonna write a whole book about an entire label, that they'd at least try to listen to most of the albums by damn near every person on the label during it's core years. For BN, that's clearly everything up to 1970. Maybe not every Horace Silver record, and not every single Grant Green or Lee Morgan record. But to completely ignore some of the artists who recorded less frequently, is pretty amazing. If he skipped the Moncurs, then what the hell else did he skip?? Probably Tyrone Washington, for sure. Probably a few of the Andrew Hills. Almost certainly the Eddie Gales. Maybe one or even two of the three Don Cherries?? Possibly one or two of the Ornettes?? Maybe a Sam Rivers or two?? Probably some others I'm forgetting too. Maybe one or both of the Tony Williamses?? Probably one or both of the Cecil Taylors. You know - I heard the recent full intervew with Cook from the NPR website (quite a bit longer than what was on the radio), and he pretty much said and thinks that "Sidewinder" was the beginning of the end for the label, and that once it was sold to Liberty, that there was little merit to many (possibly "most"??) of the material recorded by Blue Note after 1966 and '67. Suppose "The Prisoner" was not considered too, maybe. I know, I'm putting words in the guy's mouth - when I haven't even read his book. Still, to have not even listened to the Moncurs, and then bragged about it - when that aspect of Blue Note is nearly as important (historically speaking, anyway), is really a shame.

Fascinating selection for an AotW. When I first heard this (as part of the most recent Rare Groove releases), I thought it was one of the strangest pre-1970's Blue Note albums I'd ever heard. And really, I'm not sure I've ever heard anything else like it - not even remotely. This should be a good discussion, on lots of different levels. I’m looking forward to revisiting this one, and participating in the discussion.

Hey, I just had a crazy thought... What if Aric and Hardbop are actually one in the same guy, sort of a Dr. Jekyll and Mr. Hyde kind of thing???

You don't have to understand the question, you just have to understand Aric!!!

No shit!!! And you know, I'd seriously pay good money to read a lengthy post from Aric in response to him listening to a bunch of Nancarrow. And, you know what else?? - I think Aric could actually kinda half-way get into Nancarrow --- maybe with a little chemical encouragement, perhaps.

Where's "Trumpet Guy" when you need him???

Perhaps Aric needs a good dose of some of this. Nothing will fuck you up as much as... In particular, Alban Berg's Lyric Suite, for string quartet, along with his earlier String Quartet, Op. 3 --- were two of the most eye-opening experiences in my entire musical life, along with the two.

My wife and I saw "Whale Rider" yesterday. I think she liked it better than I did. I still thought it was very good, and we both thought the performances were generally outstanding, all the way around (the girl, especially). But (to mention another film already mentioned in this thread), I probably liked "Rabbit Proof Fence" quite a bit better. It wasn't that "Whale Rider" was lacking in any particular way. It's just that there were several plot-points where I had some serious trouble suspending my disbelief (I won't mention them here, for the sake of not giving away any of the plot). And I think my inability to suspend my disbelief, was in part because most of the film is so low-key, and 95% of it is totally believable, without any suspension of disbelief required. Anyway, it's a good film, to be sure - but probably not on my top-10 list for the year.

Chris, is there an interesting story behind how you acquired that record? I've read that there's only one copy known to exist in the world. Yes, what's the story here??? Both about the recording itself (which I know nothing about - only one in the whole world???), and also about how you came to find it, Chris??? Do tell!!!

Anthony Davis - "The Ghost Factory" (Gramavision, 1988); found it used on CD, for only $3!! I've had my eyes out for this one for about 3 or 4 years. Not that I've been searching high and low for it, but I was always just curious to hear it, because it is essentially two long-form 'classical' works - a violin concerto, and a piano concert (with Davis at the keys). Aside from my obvious curriosity about anything that could be remotely called a "jazz piano concerto", I was also interested because these works were recorded with our own Kansas City Symphony. Probably at least 1/3rd (maybe even half) of the musicians on this 1988 recording are still in the orchestra today, and I probably know a handful of them personally (I sing in the Kansas City Symphony Chorus, for the past 7 years).

I missed this the first time, but thankfully NPR has so much archive material available on-line. Here's what might be a more direct link to the interview, which I'm listening to now. http://freshair.npr.org/day_fa.jhtml?displ...Date=07/01/2003 Thanks Chris!!

A friend and I saw this movie about a week ago, and we both thought it was quite good. Neither on of us usually ever go to 'horror' films, but I had heard several reviews, including thoughtful ones on NPR and CBS Sunday Morning(!) - of all places. I didn't take my wife, as she never goes to horror films, and normally has zero interest in them. (Well, that probably describes me too.) How can I put this. She avoids them like the plague. (pun intended!! ) On a side note, I thought the soundtrack music was quite good, and fit with the film very well. I'm not sure I'm gonna run out and buy the soundtrack, mind you, but I though the music worked well.

Wow!!