JSngry

I know his jazz playing. It's good enough, but even there, he impresses me more as a guitarist than an improvisor, the "how" more than the "what". That doesn't bother me either.

Sal!

My concern is for the dogs. They're totally innocent in all this, but as soon as some obtuse motherfucker gets careless, BOOM, there goes another dog that could have been loved and protected, sentenced to wandering the earth forever with some limping sonofabitch who doesn't even have half a clue.

Well, I'd not put anything beyond anybody if they practice enough, but I find myself enjoying him as a "set piece" guy than as a "jazz guitarist". That's the big reason I passed on his Mosaic, I didn't want that much of that. But now I'm developing a limp and got this damn dog I can't get rid of, so maybe that was not a good choice?

Just sayin' - don't blame me when you can't get rid of that dog.

You don't have to be Christian to have Jesus throw shade on your record collection. If anything, it just increases the odds that he will. He don't give a damn about your belief system, but he's a pretty intense dude when it comes to music.

Maybe it's a pity that Smith got categorized as a"jazz" guitarist? Casualty of the times, perhaps. But I can be totally engrossed in that clip without once thinking "jazz". otoh, I've yet to hear a Chet Atkins record where I don't think "country". But I don't really enjoy listening to Chet Atkins that much.

You can't sell your dog on eBay, and from I've seen, that's gonna be job #1.

I can't/won't argue for or against any of that, but for me personally, it offers me nothing that I need/want. "Rock" as such never did, really. Hendrix, yeah, but then he died (and really, how "rock" was he? I thnk that his audience framed him as that so they could feel comfortable). Zepplin made some "thinking man's" records which I can enjoy on a per-song basis. But for me, the (on the whole) whole thing just seems like well-financed over-achievers to be. And what sucks is how the whole "rock" thing generally left Pop to the jerks. I'm speaking broadly of course, but all these "white guys" trying to make serious "rock" music by bypassing Pop altogether by being "blues-based" was, imo, trying to cut in line. Not questioning the sincerity, but it really does not interest me.

And god will never forgive him for that. I know I won't. I can't.

And eventually you became a classic, certified Quadruple Platinum. See, you didn't need Coca-Cola to survive, you got a life of your own!

I'm sure that Art Garfunkle has two functioning middle fingers of his own and knows how to use them, so that'll be their business.

Did she realize that you were jazz?

Dude, that's almost 50 years of output. Don't think it's all more of the same, it's not. You might not like any of it (or you might), but it's diverse as fuck) Tip of the iceberg.

You will be when you die and go to heaven and jesus asks you if you got it and when you tell him no, he sends you back to earth to wander around for eternity with a limp and a scragglyass dog. I had that happen to a buddy of mine about the Sex Pistols, and believe me, it ain't what you want.

I saw that the other night and thought the same thing. I usually don't care for Glass, but maybe that's because his stuff goes on too long without moving enough (for my taste) for the time it takes. But this one worked for me in a nice way, and reinforced the notion I've had that there's really no excuse for pop songs not having musical imagination, no excuse at all. Now, who do you think did "Bridge Over Troubled Water"? That was funny to watch (and sad, his voice is all but gone), there's this groove set up that is doing one thing and then all of a sudden Simon starts singing "When you're lonely, feeling small..." and there's a palpable moment of shock on everybody's part, the audience saying waaaait a minute should we applaud to show recognition (and it took a second or two before they did, recognize and the applaud) and Simon looking like wow, they're not going to applaud. I have no problem with him probably being a semi-ethical egocentric asshole, but he's still a semi-ethical egocentric asshole with intelligence and taste. If we have to have semi-ethical egocentric assholes (and the history of life suggests that we do), let them have intelligence and taste. What drove me away was people projecting that they had more than they did, and audiences getting on board because hey, look at us, we're with them, and in the end nobody really had shit or really did shit. They all just fueled each other's basic realtive mediocrity. I'll take Rumours over anything Fleetwood Mac did with or without Peter Green. Peter Green, yeah, nice player, but who's a more realized thing - Fleetwood Mac as a middle-tier semi-interesting "blues-rock" band or Fleetwood Mac as a moment-defining Pop band? I'll take the pop band, thanks, because that shit was inspired to be more than even more competent mediocrity. It didn't last, it didn't have the underpinnings to last, bu for that moment, hey.

Looks like there was a Camden EP: Here's what you have, so it looks like you're missing "Ain't Misbehavin'" Which you might expect/hope to be found here, but...nope. Do not despair of Camden, though, They had the cut here: different issues of the same record for these covers, obviously, but that's where they live on the internet i guess.

Pretty autumn colors!

https://en.wikipedia.org/wiki/Moscow,_Texas

None. I didn't even realize it was jazz. I thought it was Christmas music. Jazz, to the extent that I knew of it, was either Dixieland, Swing, or smokey nightclub beatnik music. I saw the original 1965 airing, btw. I was not quite 10. Didn't really watch the others as they aired, so...nope.

I mean, the guy literally stood right next to Coltrane for how many gigs? How would he not hear that? And I like the fact that he took his time in figuring out what it meant to him. And increasingly as time passes, i really appreciate how he never made an entire record of just that (and with good reason, that might well have been a boring record, especially if all he had wanted to do was to show HEY, I FINALLY GO IT) but chose to incorporate it into an overall entertainment presentation. i swear, the one time I caught him live (1974? 75?) he had about the best well-rounded presentation I've seen from anybody, ever. Literally something for everybody, and all of it played with enough sincerity - and more than enough polish - to work. For everybody. Good music, real music, for everybody. Wow, what a concept.

First listens were sort of indifferent, but familiarity is breeding contentment.

That’s the records minus the faux-record player packaging, right?