JSngry

Dewey, Burnham, & Howe Moe, Larry, & Curly Los Tres Ases

Penn Jillette on meeting Carrie Fisher for the first time: http://www.cnn.com/2016/12/28/opinions/carrie-fisher-penn-jillette/index.html

I didn't like her when I was a kid, but the more I understood what work meant, and that even famous people have to pay the bills and that not every person (famous or otherwise) even tries to be a parent, and, especially, that paying bills and being a parent involves actual goshdarn effort and discipline, the more I came to dig her, not really as a "star", but as a human. RIP.

You're welcome, hope you enjoyed it!

Never mind the whole "King Of Swing" mess, and quite apart from the fact that yes, absolutely Benny Goodman's band made it a point to play those charts in a way that was unquestionably "cleaner", "lighter", "politer", and yes, "whiter" than Fletcher did with his own band, quite apart from that, I'd like to say that it's a rewarding journey to follow the Goodman bands' (yes, plural) evolutions on these charts, the RCA band brought enthusiasm if not real interpretation at first, but as time went on (and by the time the band moved to Columbia), Benny had really gotten inside those scores as orchestral music and got his band to play them just so, down to the finest detail, and whatever he took out in terms of rawness he put back in polish, not just a slick sheen, but a real, organic polish. Perhaps this is one of the earliest examples of what "Third Stream" really is? Taking functional dance band charts and treating them to the detailed dissection and performance practices as a classical conductor would, and not halfassing the final result from either side. Fletcher Henderson was a genius, I swear, a man would could take a fixed language and variate it to no end. With Goodman's bands playing his charts, I find myself almost ignoring (sometimes completely ignoring) the leads and soloists and going the full immersion route on the backgrounds, good lord, that shit just bounces back and forth with the glee of a kid on a trampoline, and a big reason why it's so joyous is that the band is playing the parts with so many microdetails of pitch and time, Benny's got them at that level and they're not guessing or otherwise figuring it out, they've got it figured out. From Hymie Schertzer's lead alto to Toots Mondello's, there is a forward evolution, as there is with the entire band. That Goodman/Columbia band of the early 1940s, that was one helluva band and they had one helluva range of writers - Jimmy Mundy, Mel Powell, Eddie Sauter, Margie Gibson, but it seems to me that Fletcher Henderson was still the heart of that band, and, really, the heart of all Benny Goodman bands until the end of time. Benny Goodman playing Fletcher Henderson is not the same thing as Fletcher Henderson playing Fletcher Henderson, but it is its own thing, and I will say that the chart that Henderson did for Goodman on "Stealing Apples" (one that his own bands never played, is that correct?), is surely a piece of music that leaves life better than it found it.

Ezra Pound César Franck Rooble Mohamed

Jimmy Ricks Jimmy Rowles Bec Astley Clarke

The scars from getting screwed over quite often have nothing to do with the money and everything to do with being or feeling betrayed. That's a wound to the psyche, or can be. The money is insignificant, really; the violation of trust is anything but. Frank told him what he needed to be told, as far as I can see. Far be it from me to quibble with Frank Sinatra about the mental bounciness of success.

So...nobody likes being screwed over. And not everybody gets a forum to vent about it without repercussion. So...carpe diem if you do. And yeah, after a point, it's like, ok, point made, move on. But still, nobody likes getting screwed over. That shit can leave scars, no matter how well you do in the aftermath of it. It's not for me to tell him to shut up about it, it's for me to just not pay attention any more.

John Kerry Nancy Kerrigan Buster Harding

Jason Moran, isn't it?

Norah Jones Berry Gordy Junior Seau

I don't think I've ever been tempted to pay $60.00 for a new LP. Ever. I passed on a Henry Threadgill solo flute LP from a few years ago because they were asking something like $30-$40 for it, new. In retrospect, do I miss having it? Yeah, kind of, but from a greed/collector standpoint, not from a musical one. I get profit margins and niche market and all that, I do, but I also get price points where I am and am not part of the niche. There we were, and here we definitely are.

Left the Nazi post up so I could quote it to show the type of thing that we're dealing with in this thread as far as deletions and such. Neither Larry nor I yield a heavy hand here, the rules are clear and we moderate accordingly. Some people get it, some people test it, and still others seem to think that their passion takes precedence over the board rules and that they are justified in just keeping on. They are wrong. If further deletions become necessary, that one with "Nazi" in it will go with it, as will all references to it, including this post. And if forced, the thread will be locked, which is kind of a drag, because I kinda dug George Michael. I think his RIP thread deserves better than some guy piling on with the wholly unrelated political angst.

I'd like to hear the DeJohnette solo piano record, and maybe(?) the Rufus Reid with string quartet. But not for $60.00. Hell no.

Using the death of a pop star to go all Strictly Political is not going to stand here. You tried once, in response to a bait, and that all got deleted, the bait and the bite both. Continue on this path and the deletions will also continue.

RIP. Seemed like a woman of substance, actually. Troubled, neurotic, perhaps even self-destructive substance, but still, didn't seem like a bullshitter at all. RIP.

When was the last time you watched Truck Turner?

Toni Tennille Daryl Dragon Carmen Lombardo

Lester Flatt Tommy Tune Sarah Pittche

Brian Blade Ruben Blades Jay Cutler

Dude, I watched Truck Turner over the Christmas weekend. Loved it, as always ("better grow wings, Super Fly!"). This Miles movie is beaucoup more betters than Truck Turner, even down to the score. Now, I'm not saying that Don Cheadle is a better actor than Isaac Hayes, but I will say that his is a more evolved cinematic talent, which befits a man who is a product of evolved times, which is also what you can say about Miles' music, all of it.

ok, call me a vulgarian of the most insignificant order, but i really get a kick out of the two Charlie's Angels movies. Funny as hell, and not accidentally.

RIP, funky snakefoot.