JSngry

I found one of Jimmy Hoffa's ears. At least I think it was Jimmy Hoffa's. It was definitely an ear.

Don't know anything about the Columbia pressings, but for sure enough do recall those early Polydor pressings being total crap & WB being much better. Also recall getting a German pressing of Ruta and Dayita in a cutout bin (however it got there, I still can't figure) in the early 70s that was obscenely quiet, i mean, i though the turntable had stopped until the music started playing. Also had a couple of buddies in the later 70s who had the money to only buy ECM imports to play on their much-better-than-mine system, and that shit was just STOOOPID clean!

for sure...words like "infectious" and "enjoyed" seem a little bit, uh...casual in this context. Part of me kept thinking, all the way to the end, evil, genius, evil genius, and maybe so. But then again, what do you have to fear except yourself, and if you're bothered by mythology, then why, what's inside you that you can't be objective about this, it's "just" a story, right? But on the other hand, if you don't want to upset/disorient/whatever people, why write such masterful/masterfully disruptive music? It's not "just a story", not the way I heard it. It is a dilemma, and I'll be damned if Woltan (as portrayed here, anyway) didn't remind me in too many ways of a certain Person Who Must Not Be Named Lest There Be Political Controversy, and it was like, whoa, disturbing enough in the abstract, extremely disturbing to contemplate any real manifestation of it. Couple in the Siegleid/Sigmund "this is our time NOW, all else be damned" thing and, whoa, I'm seeing this shit everyday, it seems like, NOW. I guess there will always be a place for Wagner. Whatever shit he's able to stir up is probably an eternal part of the human condition, so...beware humans, I guess, all of us.

It was, and it's the kind of thing I could well have gone through life not getting for all kinds of reasons. What I am learning is that operatic vocals do not tend to be as oppressively "loud" in person as they've mostly seemed to me on records. On records, it's just the wrong kind of "intense", if you know what I mean. But in person, unmiked, filling the hall with just voice...intense in the good way, the right way. Never mind that this particular opera has an overdriven intensity built into it. But everybody's ready to laugh at it (and perhaps rightly so), the "go kill the rabbit" thing and all the fat ladies in Viking helmets, but.. pop culture does us a disservice sometimes (to put it mildly). At the beginning of Act 3, you get the familiar March, and the 8 Valkyries all going at it, and, yes, you can find comedy in that, especially if the performances are in any way off. But these were not, and frankly, it was a little spooky, in all kinds of ways. I wasn't about to laugh at it. Oh well, it was a good night, thanks. And I'm thinking that if I'm ever going to "get" Mozart, it's going to be through a comic opera like Don Giovanni, with lyrics projected so you can look, listen, and read all at once. That's going to be the ticket for me, following the stories as they unfold, not from study beforehand, but as it happens.

Actually......no. Truth be told, it was a very intense night. Being in the same room with this tale of a fuckhound god, an incestuous would-be half-god/half-mortal power couple, the revenge of a jealous/vengeful god-wife being sub-contracted out to a god-daughter who may or may not have some kind of weird bond with her father, all of that would be enough, but the music...wow, the music...I heard a few people talking about how if you know what all the motifs are, it's easy to folly, but even at/with that, the tonalities keep shifting, and keep shifting and STILL keep shifting, it is actually unsettling. And with the story going on, unsettling. And the band was...in a zone. At the end of Act 1 people, including myself, were ecstatic, but jeezus, what is it that has just made us feel this way? I can only imagine what a full staging would be like. I had heard records, watched DVDs, boradcasts, etc. and had thought that Wagnerin the 21st Century had become "safe". Well... Actually......no.

Yeah, well, I think she's being - has always been - true to herself, and really that's the real reason anybody plays, right? Because they feel that something needs work, if only themselves. Not all great music comes from "within" any particular/specific world, some of it comes from observations in, around, and about that world. Bley is, I believe, somebody who does that, and she's been pretty damn good at it along the way. Besides, she understands the visual a lot more than most jazz musicians have. Her comments about D. Sharpe, her album covers, her promo shots, she's fully aware of what all that means. To that end, I'm moved by how shrunken and "frail" she's gotten with age. And yet she persists.

I subscribe, but really...I don't know why. So many of their current events writers show up on TV talking the same things they write about, and I don't engage in pop culture at all, except for a very little occasional bit. I do look forward to the covers though, still. And every so often there's an article worth reading.

I've never known anybody else with the names of Gildo and/ Mahones, alone or together. First heard him here (w/Pony Poindexter in tow as well).: Never knew too much about his except that he seemed to get called for a certain type of record dates, and always seemd to deliver. RIP.

Real? In what sense? I really don't get that. I've never heard a Carla Bley record where it sounds like she's not aware of what choices she's making, the reasons seh'd making them, and what it means that she's making them. How can you get more real than that? The interviews over the decades are just as much like that as are the records. Carla Bley brings Carla Bley to the table, nobody else. Now sure, Carly Bley is capable of arch irony, playful and deadly at the same time, and I get that hipsters have killed irony for the masses, but it wasn't always so. And I get that a roller skating Nordic-American church girl probably starts life in the teenage jazz cigarette girl world with more than a little, shall we say..."distancing" in the pump for the road trip ahead, but geez, what's not real about any of that?

#1 is "Candy". #2 ends up as "One O'Clock Jump".

I am, in fact. Thank you! Collegiate Shag, that sees to be the main one. I actually know a little bit about "L.A. Swing" dancing from playing for Push dancing here for about a decade or so. Dancing/dancers have their own histories, stories, etcc, so I picked up what I could as I could. Also was aware that there were different dances occurring simultaneously, but the one that really struck me eye eas that style of hopping in time to the music while still moving around the floor AND getting the feet kicks going, that's some baaaaad action Right there, and I've never seen anything quite like it until now. lipi - if I may call you that, by how do you come to your knowledge of these things? Were you born in it either immediately or through family, or did you hang around the old-timers before they got too old, or just what exactly.?

Tomorrow afternoon, I am going where a few years ago I would have never even thought about thinking about going. Jaap van Zweden CONDUCTS Simon O'Neill TENOR (SIEGMUND) Michelle Deyoung MEZZO-SOPRANO (SIEGLINDE)* Jongmin Park BASS (HUNDING) Kyle Albertson BARITONE (WOTAN) Heidi Melton SOPRANO (BRÜNNHILDE) Christa Mayer MEZZO-SOPRANO (FRICKA) Karen Foster SOPRANO (GERHILDE) Elaine Mckrill SOPRANO (ORTLINDE) Catherine Martin MEZZO-SOPRANO (WALTRAUTE) Nicole Piccolomini MEZZO-SOPRANO (SCHWERTLEITE) Erika Wueschner SOPRANO (HELMWIGE) Blythe Gaissert MEZZO-SOPRANO (SIEGRUNE) Krysty Swann MEZZO-SOPRANO (GRIMGERDE) Edyta Kulczak MEZZO-SOPRANO (ROSSWEISSE) WAGNER Die Walküre (Complete opera in three acts) (Sung in German with English surtitles) As a special event during the Farewell Celebration Season, Music Director Jaap van Zweden will lead the DSO and world-renowned soloists in complete performances of Wagner’s Die Walküre. Performances will feature two intermissions: a 45-minute intermission following Act 1 and a 25-minute intermission following Act 2. Patrons may pre-order a dinner through the Meyerson and dine during the two intermissions. Downbeat's a 2, I've been told to expect to leave around 7:30. I think I'd rather have done this with Tristan, but this is what's available.And I'd probably prefer a real staging, but first, just let me hear it like this. Brenda has made it clear that she will not go to an opera with me, any opera, ever, probably never. And yet I persist. No idea if this is going to really work for me or not, so...wish me luck.

I mean, seriously? Ya' think? Etc? https://en.wikipedia.org/wiki/Carla_Bley Bley was born in Oakland, California to Emil Borg (1899-1990), a piano teacher and church choirmaster, who encouraged her to sing and to learn to play the piano, and Arline Anderson (1907-1944), who died when Bley was 8 years old. After giving up the church to immerse herself in roller skating at the age of fourteen,[1] she moved to New York at seventeen and became a cigarette girl at Birdland, where she met jazz pianist Paul Bley. I'm thinking that I hear all of that in her music, and there's plenty of it that I'm indifferent to, but in none of it do I not hear that. God bless the Evolved Puritans. Roller skates can take you places.

well, duh. here it is:

I'd still like to hear more about the broken wrists.

The Richmond Rarities disc is a good one, but if you want to listen to the 8 Trent sides for free before/instead of buying, there's always this: http://www.redhotjazz.com/trent.html Like I said, swings like hell! That one has better footage, this one has better sound:

from 2:08 thru 4:20, the again from 6:01 thru 7:28. First sequence holds more substance than the second. freeze @ 6:44 for a shot of the band What is the dance going on there, especially in the first sequence? Hopping and foot work/steps. Is this an early version of the Lindy Hop, or is it something else altogether? And that song (songs?) there's something almosy Ornette-ish about the phrases (crazy, I know), are the existing tunes or some weird jam that was created on the spot for this movie by that band? The movie itself sucks, not bad in a fun way, just bad, period. But the dancing bits and the music therein has pushed some kind of a button in e. Just wtf IS that?

https://www.amazon.com/Richmond-Rarities-Recorded-Indiana-1927-1933/dp/B000009PUM

nope. that's the truth.

RuPaul Bu Pleasant Pierre du Pont

She doesn't even try to be "hip". She's like the anti-Bob Dorough!

They're out now? so they are. Me too as well, then.

I mean, how is this not a lost Leon Ware song? Points of reference are what determine perception, no?