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pryan
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Posts posted by pryan
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reene rosnes is hot and is a good player but i think shes canadian
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I'm getting this one for sure. Picked up DANCE WITH DEATH recently and really dig it. All of the Andrew Hill discs I have are killer, in fact. I seem to hear new things in Hill's music everytime I return to it.
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When I first started posting on the old BNBB. The Lee Morgan 50s set was on last chance, and I happened to grab one of the few remaining copies. I remember my jaw dropping when I opened the box. The photographs were what initially grabbed me, but of course the music was superb also.
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As soon as I get the dough, I'm gonna grab the Prez box. Was eyeing it today at a local music store. I'm a big Prez fan so it's a must; there's lots of good sessions on there for a novice Lester fan as well, such as the Oscar Peterson session and the first Nat Cole session w/ Buddy Rich. There's also a couple of interviews; one is conducted by Chris Albertson. I don't think you'll regret grabbing this one.
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We're getting used to the crappy weather here. This morning it's sunny, but the temperature with windchill is around minus 40. Last night there was local blowing snow, and the polishing effect that occurred because of the strong north wind produced black ice on the roads. Fun times.
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Subdivision of music is always welcome. I usually respond to parentheses inside of parentheses. I'm deeply attracted to the guys about three tiers down from the real guys. I am willing to be challenged "to a point reached about 40 years ago". After that, feel free.
OTOH, there is a ton of stuff (never mind the stylistic subdivision) curently available from Fantasy. Have a great time, don't worry about eras.
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Up an' at em'.
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Updated and up!
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Prices include shipping to the U.S. and Canada. Check or money order please. PM me if interested. Thanks for looking.
*THE COMPLETE CURTIS FULLER BN/UA SESSIONS ($80)
*THE COMPLETE CBS STUDIO RECORDINGS OF WOODY SHAW ($80)
*THE COMPLETE BLUE MITCHELL BN SESSIONS ($100)
Prices reduced.
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Lee Morgan: BN 50s Sessions
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I would disagree with the poster who says that AT and Billy Higgins "lacked chops". Perhaps they weren't the virtuosos of say a Buddy Rich or Max Roach, but they could still solo very well.
I wouldn't say soloing, for drummers, is a "bonus" either. Drummers usually are soloing constantly, in their reactions to the other soloists, or the commentary that they provide. They must react and respond instantly. A drum solo may stand out because it is unaccompanied (usually), but in no way should it be considered a "bonus", IMO.
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It's my opinion that Art Taylor has more "pop" than Jimmy Cobb. He pushes things more and is a more inspiring player than Cobb. Perhaps a notch under Philly Joe, perhaps two notches under Art Blakey, say. Cobb does not have the lift that I like to hear. If you worship the Kelly-Chambers-Cobb section (and lots of people do), that's great. It's just not my favorite. I find them too subdued.
Mike
I really like that rhythm section; their sense of swing was impeccable. Could you elaborate a bit on the "subdued" comment?
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Pryan: "...This thread was a bit over the top. Sure you have the "credentials" to do so, but does that mean that you should?"
What a clear defense of mediocrity you make, Paul. You might just as well stick with your student newspaper, where nobody likely knows or cares about music analysis of any serious depth.
People have to start somewhere, dig? I can't just start writing for Downbeat or the New York Times right off the bat. That comment is bullshit, but will only inspire me to write with more conviction, depth, and clarity. I don't accept mediocricy either, if that's what you are assuming.
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I might take that Brownie book out of the library again. It would be interesting to see the holes or flaws or whatever that are in it. Could you give me a couple of examples of what to look for if and when I re-read it?
BTW, you did ask, "what have YOU written lately". Seems like you wanted some examples. Hence my response.
Sorry about the making assumptions thing, but I think everyone assumes things to a certain degree. I wasn't attacking you personally.
I admit I haven't read your book, but would like to someday. Can't say I'm the biggest Gigi Gryce fan, but I'm still very interested to read about his life.
BUT, still I think bashing books to the extent that you and Bertrand did in this thread was a bit over the top. Sure, you have the "credentials" to do so, but does that mean that you should?
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Have you read my book? What was your impression of "what really matters" there?
Facts are either right or they're wrong. Going way back in this thread, I said that getting the facts right was the STARTING point. You still seem to think that this is where I believe everything should stop. I've never said that, and I believe that my book and other writings don't support this interpretation of my outlook.
Now, I do discography work. It's *one* thing I do. Discography does NOT deal with "the personal aspect of things" - it's not supposed to. There are a lot of other things I do that *aren't* discography. Please don't compare apples and oranges. Besides, a judgment based on some posts to bulletin boards isn't going to be an accurate one. I'd bet that at least half my responses here ARE just answering factual inquiries. Doesn't prove anything.
I also think you trivialize factual accuracy by talking only about "getting the dates correct" - in this discussion, *the facts* are that Wayne Shorter made a lot of music before Weather Report and it is NOT addressed in this book. His contribution to music is *a fact* and it does not receive attention. If Wayne Shorter is such a wonderful musician and composer (and I think he is) - WHY? This is NOT answered in this book. Could it have been? Yes. Should it have been? Yes.
My position on critiquing jazz biographies is one of experience - I've done it. I know what it takes. That I haven't written one on EVERY single artist isn't relevant. I do know that it's not possible to be perfect. But it's possible - even *easy* - to do a better job than what some writers have given us (and this WS book is just one of many that falls very short of the mark). The basic thing is, it takes a lot of time and a lot of research BEFORE writing - and I just have a feeling that this WS book was done in a couple of years. How much did the author know before starting the project? Doesn't seem like much. I have a sad feeling that the author hasn't even listened to everything that WS has done. The grapevine tells me that important resources were offered to her and she didn't take advantage of these. Recipe for a bad book, in my view.
Oh, btw, going by *your* standard - please don't tell any of us that "writing should have soul" - what have YOU written lately? How do YOU rate on the soul-o-meter? See how that comes across?
Mike
P.S. - I would be interested to know what you thought of the Roland Kirk biography. Or the Clifford Brown one.
Sorry, Mike, I don't want you to hate me or anything like that and I'm not doing this just to argue for arguments sake. Your contributions here are welcome by everyone and I realize that the respect you garner is greatly deserved. You have "paid your dues", obviously.
I'm hearing what you are saying for most of this post, but the last couple of parts I'm not too cool with. For one thing, I have been writing quite a bit lately. I contribute regularly to the University of Winnipeg's student newspaper. I wrote a piece on Chuck Nessa's label, which will go in this week's issue. Chuck was gracious enough to chat with me on the phone for about half an hour this past week. And I am also helping out in many respects with a local jazz publication that was started recently by my good friend Steve Kirby. My first article for that will go in the next issue; it is about the avant-garde/free jazz. And I am going to begin writing cd review for another local arts magazine, called Uptown. I could post some of my stuff if you like.
I know the Brownie bio is supposed to be not that well-researched, but I read it before I knew much about jazz. I got a lot out of it, myself. Haven't read the Kirk one.
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Congrats, Johnny. Keep us posted. Have you started giving the baby drum lessons yet?
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My first sampling of the fifties stuff, with Jackie as a leader. ... Jackie is a guy who I could see myself being a "completist" with.
I think you're going to like the Prestige stuff. I've been listening to it again recently, and am really appreciating it more than before.
4, 5 and 6 is a great album, IMO. Sweet rhythm section (Prestige regulars, according to the back blurb) and really beautiful playing from the leader. I like the first tune ("Sentimental Journey") quite a bit, as does my girlfriend who dubbed it her new favorite song. Really diggin' the version of "Confirmation" also.
I going to have to order a bunch of these Prestige sessions with Jackie's name on them.
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Paul -- You know not (or not much) of whom you speak, though you would have if you'd been paying attention. Mike Fitzgerald's two middle names are "thoroughness" and "scrupulousness." I'd add "beyond the call of duty," but people like Mike quite rightly don't see it that way.
And yes, I see the smiley face, but I don't see how it fits what you wrote.
I do know something about Mike, or as much as you can know by way of internet bulletin boards. I realize he's a great jazz scholar/educator/writer and he does want to get the facts right. I just think that sometimes he gets too caught up in getting the dates correct and leaves out the more personal aspect of things, which IMO is what really matters.
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Wait and see.
But apart from that, I think it's a nonsensical response to say, "Well, if you don't like it, you should do your own!" So unless someone writes his own book, pointing out flaws in an existing one is off-limits? Yeah, that's real productive.
Besides, *I'm* not the one who left out something like three-quarters of Shorter's pre-1970s output. Don't kill the messenger. (Helen More did that.)
Mike
It's not "nonsensical", just how I feel. You obviously know an incredible amount about Shorter, discography-wise, especially. You have written a book already, so it only makes sense that you'd probably be doing more books in the future. That would be awesome if you did a book on Shorter.
However, I think just writing in a strictly factual sense somewhat leads to boring writing (see some of Bob Blumenthal's RVG series notes, for instance). Writing should have soul too.
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It's fundamentally an appallingly shallow book. A great disappointment. A missed opportunity. It does a good job of dealing with Wayne's personality.
So when is Michael Fitzgerald's Wayne Shorter biography coming out? I'm sure it will be mistake free.
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Cheers! Have a brewski, eh?!
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Mobley set: disc w/ the KD, Sonny Clark session
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I'm going to buy 4, 5 and 6 today. My first sampling of the fifties stuff, with Jackie as a leader. I have heard him as a sideman in the 50s and dig it. Jackie is a guy who I could see myself being a "completist" with.
Women!
in Miscellaneous Music
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Luciana was in town this past week doing some work at the school of music (U of M). She did a concert last night with the faculty jazz combo; it was great. She's a beautiful vocalist.