Rooster_Ties

For many of the reasons you gave, I also prefer the AMG. The most important reason, though, at least to me - is that the AMG includes all titles, and the Penguin only includes titles in-print. I'm way beyond needing just to know the quality of what's in print. At least 25% of what I buy (maybe closer to 50%??) are OOP titles.

I lost my job in January, so I haven't been buying much at all. I had already slowed down quite a bit back as early as October or November. Still, much of what I was buying was OOP titles on eBay - stuff I would have loved to have bought 'new', if I could have. Also, I tend to buy 'used' as much as I can. For jazz, that means not very many titles, cuz I don't find much of a good selection of used jazz in this town. But I try to get all the rock and pop titles I can used, whenever I can (or at least the major-label stuff). I'm always buying locally produced stuff (the true independents) whenever I can - and I have even bought a few of them after the job loss. Every sale counts for those folks, and I'm glad to try to do my part.

Even if I wanted to argue with you about that, how could I? Where would I even begin?? (Not that I want to argue about it, mind you. ) Me?? I often forget to turn off the Memorex "clock-radio/cd combo" player (that I got at Target on close-out after Christmas, for only $10!!). Doesn't seem to affect the sound quality either way, come to think of it!!

If it's any consolation, I know how you feel. Not about getting a virus, but my hard-drive crashed completely in February, and I lost everything. Had to reinstall everything from scratch, and I lost a ton of stuff. (None of it really important or anything, but a whole bunch of stuff I would have rather not lost.) Good luck getting back to normal. It's a pain in the ass, for sure...

Lot's more like this one, at: http://www.arouse.net/jesus/

Ken-taco-hut!!! That what we's who are "in the know" call 'em here... Nothing quite like the combined smell of fried chicken, pseudo-mexican, and pizza.... (By the way, I'll take Popeye's over KFC any day.)

There was a sociology course taught one of the years I was in College, that my then girlfriend too, on the subject of "The Black Family". I seem to remember her doing her final project on images of Black families in the movies. I think she took a look at 4 or 5 movies, but the only two I can remember were "Superfly", and Spike Lee's "Crooklyn" - which I recently saw again for the first time since it came out, and found to be really a wonderfully entertaining movie ("Crooklyn"). I also remember, at the time, thinking how much I would have liked to have taken that class too. I'm pretty sure it was after I got even my 2nd degree (that last year I was still in that college town, before moving to Kansas City), and I was working nearly full-time at the time. I'm sure, now, there would be a number of Black-Studies courses that would greatly interest me, especially those that focussed on either current issues (or culture), or relatively recent historical areas (meaning after 1900). I know. I know, the 1800's and before are critically important to the whole discussion of Black History, but in gneral, I've always been far more interested in the history of about the last 100 years.

Thanks, John B!! Appreciate the info. Man, I do hope I can somehow make it to this show. Got my fingers crossed.

Thanks for the review. By the way, I asked this in another thread (Andrew Hill Quartet - Iowa City Jazz Festival, Anybody from Kansas City interested???), but does anybody know who would be playing in what is billed as the Andrew Hill Quartet, this July, in Iowa City??? Thanks!!!

Yeah, what Dan just said, me too...

Not sure who all on this board is from Kansas City, but I just recently learned that the Andrew Hill Quartet will be playing at the Iowa City Jazz Festival on Sunday, July 6th (at 4pm). The festival is free(!!), and I've always wanted to hear Andrew Hill, like nobody's business. (I have no idea who's in his current quartet, anybody here know????) Here's the complete line-up of the Festival... Friday July 4th 6:00 p.m. United Jazz Ensemble 7:00 p.m. United Jazz Alumni Band 6:00 p.m. OftEnsemble (University of Iowa Faculty Ensemble) Saturday July 5th 2:00 p.m. Dennis McMurrin and the Demolition band 4:00 p.m. Geri Allen Trio (with Buster Williams and Lenny White) 6:00 p.m. Don Byron /Music for Six Musicians 8:00 p.m. Charlie Hunter Quintet Sunday July 6th 12:00 noon Fred Anderson Trio 2:00 p.m. Ron Miles Quartet 4:00 p.m. Andrew Hill Quartet 6:00 p.m. Dirty Dozen Brass Band My folks are supposed to be visiting us (my wife and I) from St. Louis that same weekend, but I think there's a chance I could get away for the Sunday line-up. It'd be a long day, but the drive from Kansas City to Iowa City appears to be about 4.5 hours long, one-way. (That's about the same as the drive from Kansas City to St. Louis, or at least to the far side of St. Louis where my folks live, near Belleville, IL.) I wish I could go for Saturday's line-up too, but I'll be lucky to get away on Sunday. What I'm thinking is that we'd leave Kansas City really early on Sunday morning, depending on how much mutual interest we have in hearing Fred Anderson and Ron Miles. I'm a little embaressed to say that I don't know either of them that well, but reading their AMG bios just now, they both seem like artists I'd like quite a lot. I could take or leave the Dirty Dozen Brass Band, so then the day could go like this... Leave Kansas City around 6:30am, get to Iowa City by Noon. Hear everybody up through Andrew Hill. Leave Iowa City around 6pm, get back to Kansas City around 11pm. Who's up for a roadtrip????? (By the way, I'm much more sedate in person than my on-line personality might indicate. Occasionally I probably come off here as being a little "Aric"-like, but I'm really a fairly introverted person, actually. You need not fear being trapped in a car with a motor-mouth. My 'type' is worse than my 'talk' )

With the exception of Jimi Hendrix (who I still love), practically no rock music from the late 60's or any of the 70's does anything for me any more. (A possible exception might be the occasional Jethro Tull album here and there.) My wife is really into the whole "retro-80's" thing lately, so I've selectively caught that bug myself. We were both in our teens all thoughout the 80's (she was born in '67, I in '69), so it's difficult not to be nostalgic for some of that music. I'm not really into the really cheezy American pop from the 80's, but I do find that I like the slightly edgier Brit-pop from the 80's, more than I care to admit. Again, I know it's purely a nostalgia thing. I'm a little embaressed to mention that I have nearly every "The Fixx" album ever released on CD - but they kinda grew on me a couple years ago, in a way I never expected. But as far as Rock music more recent than the 80's, I do rather like Nirvana every now and then (and I think Cobain was a great songwriter), and I secretly like The Foo Fighters a lot, when I hear them on the radio. (I don't own any "Foo" CD's, but when they come out with the inevitable Greatest Hits CD, I'm sure I'll buy it.) Although not entirely considered Rock, there are a number of relatively recent "power-pop" groups I like quite a bit, like almost everything Matthew Sweet has released, and also Ben Folds Five, or Folds' two recent "five-less" releases. I know, practically none of this is really Rock. What do I like that really is Rock???? Radiohead is really outstanding in my book, and I look forward to each new release of theirs with baited breath. Interpol, while not exactly Rock, is also a band I've grown to like quite a lot. My wife really likes Dave Matthews (who I don't consider to be Rock with an uppercase "R"), and I guess I've grown to like Matthews more than I would have otherwise. (Although his sax-player sucks rocks - man, that guy has about as many intonation problems as a typical student trombonist!! ) If I think of any others, I'll post them here. Most of my 'pet' bands from the 80's and 90's are more "New Wave" in nature, like "The Cure", and "Talking Heads". If I think of any other real "Rock"-type bands to mention, I'll be back...

Steering this back on the "Race" topic (not that a little detour is a bad thing), but speaking of college - I was just thinking about my college days (from '87-'91 --- plus a couple extra years in the same college environment (until '93), getting another B.A. degree). Even back then, I had some interests in bridging that racial divide -- even before I ever knew anything about jazz, or before I had even heard "Kind of Blue" (which I don't think I heard until about 1989). Back then, Rap music was becoming more popular in certain circles, and I remember taking a bit of a liking to "Public Enemy". And I got on a big "Spike Lee" kick too, seeing as many of his movies as I could. And I discovered some great early-70's soundtracks, like "Superfly" and Herbie's "Death Wish" soundtrack. And I remember being at quite a few school events that drew heavily on the Black student population (which numbered 50-75 students at most, out of 1,000 total - at a small liberal arts college in upstate Illinois (Knox College)). And I even remember once (maybe twice) being inside the 'theme' student housing (literally a house) that was primarily occupied by Black students (why I was there, I now have no idea). And yet, in all that time - 4 years as a full-time student, 2 years as a half-time student, and 1 year just hangin' around the college (while I worked, that first year after the 2nd degree), I am struggling now to remember any acquaintanceships between myself and any African-American students. Well actually, I can kinda remember one or two, maybe, at most - with people who were in the college choir with me. But you’d think, in all that time, I would have struck up at least a couple friendships with some other Black students. (But somehow I didn't.) I think part of it had to do with the fact that most of the Black students often socialized with each other, and their parties and other activities were mostly 'monochromatic'. Probably not too uncommon (even today). The campus environment (at Knox) at that time was approximately 87% white, 8% International students, and 5% Black. Anyone here care to recollect their college experiences, relative to Race??

I too am totally at a loss for words.... Other than ROTF!!!

If I won the lottery, I'd be cherry-picking all the classes I would want to take, and probably not even worry too much about working towards a specific degree. (That is, if the university would let me do that.) There are so many interests that I have now, that I didn't have 15 years ago. And my priorities were quite a bit different back then too, not that I was a "party animal", but I wasn't the most focussed student ever, either. Oh to be young again.

Ideally, I would agree with you Jad, but we all know in this day and age, that there aren't nearly enough performance opportunities for musicians. Look at Organissimo - within 75 miles of where they live, it sounds like they're lucky to get 3 gigs a month, and more like 2 possibly. I think the question of whether learning jazz in an academic environment must recognise the realities of the world as it exists, and not how it might ideally be. Sure, learning on the bandstand back in the 40's, 50's, and early 60's would deffinitely be prefered as at least a strong component of any jazz "education". But absent that (and the opportunities for that), I guess the question is whether the 'academic' route is valuable, vs. what are the current options for going a non-'academic' route. Food for thought, hopefully.

What a fascinating question, both the 'jazz education' angle, which I suspect will get adressed more in this thread. But also the other question, about whether "hip hop turntablism" ought to be taught at the school (by which I presume we're talking about 'scratching'). I'll give some thought to both questions, and post them here later.... ....but I'd be especially curious to see what people here think of "turntablism" possibly being taught in music schools. I know there are plenty of people in the mainstream world, or even the mainstream music world --- who would recoil in horror at the thought of such an instrument be elevated to that of more trtaditional intruments. BUT, surely there is a whole world of music out there that uses "scratching" as a very frequent and important component, and that world is influencing jazz and various syntheses of world music, even as we speak (and probably has been for at least a decade).

I never took any history courses back in college, and now I really wish I had. Back then, they seemed like so much more work than whatever other classes I managed to find to complete the requirements outside of my major (which was computer science, and then later music - I have two B.A.'s) Now (at the age of nearly 35), I'd be up for so many history courses, and even maybe a Constitutional Law class, or some 'crazy' things like that - topics I would have never touched with a ten-foot poll back in my late teens and early 20's. Oh to win the lottery, and be able to go back to school full time...

United Artists actually. My copy is on Blue Note, CDP 7 46393. Money Jungle on Blue Note here. 63/32 See the fine print on the back, or at least on the back of my "CDP 7 46398 2" released on CD circa 1987. It says... "Originally issued on United Artists UAS 15017, UAS 5632 and Solid State SS 18022". It was originally produced by Alan Douglas (a dead give-away), and also that it was recorded at Sound Makers, NYC.

Sorry for diverting the thread for a moment, but Rooster Ties was actually right about this. Duke Ellington did not record for Blue Note. I was thinking the same thing (about Duke and BN), but I was wronger-than-wrong about Miles (what the hell was I thinking!! ), so I figured I'd just gloss over the whole Ellington thing, hoping it'd all get lost in the longest thread we've ever had around here.

Geez, almost 300 posts in this thread, but even more amazingly, nearly 5,000 views!!!!

New record again today... Most users ever online was 44 on May 20 2003, 01:09 PM

Although I voted for "Mother Ship", I was listening to Hill's "Lift Every Voice" again last night, and I keep finding new things to like in Lee's playing on this date. I guess it goes without saying that I wish Lee had recorded in more "progressive" contexts - but then again, given his short life - I should probably be thankful that he did play on as many progressive dates as he did. Still, I'm beginning to think more and more, that Andrew Hill (especially) brought out a side of Lee Morgan that no one else could. A side that was both bold, and introspective, and restrained, and harmonically rich - all at the same time. I hear this more on "Lift Ever Voice" than on "Grass Roots", but there's still an aspect of this for me on "Grass Roots" too. I even hear it on the Hill/Morgan dates from Hank Mobley's "No Room For Squares". (I mentioned this in another thread, but I never got that date ("No Room For Squares, specifically the sides with Hill and Morgan), until I started listening to that album as a sort of Andrew Hill album, rather than a Hank Mobley album.)