JSngry

Salvaltor Handette Wendy and Lorne Armette Winged Eel Fingerling

Yeah, I feel that way a lot of the time myself. But Side 1 of Space, their second album for Apple, it's a really, really stoned staidness! This is, like, the missing link (or links) between bebop & George Crumb, or something. Not that that's a chain everybody wants to follow, but still...who knew? And Space is, really, the only record they made like this. They'd get blurry a few times later (and a few time before), but not so overtly as on this one record.

First MJQ record was a two-sided 45 of "England's Carol"...next one was the then-new Blues On Bach. Neither of them, nor any MJQ record, would probably make any "Top 5" list of mine (although Side 1 of Space might well make a Top 5 Get High And Listen To THIS list if I made it while I myself was high, but why dwell in the past?), but I find that they all keep getting played

Charles Lloyd invested in California real estate and more or less retired to TM for a while before returning to a higher-profile schedule. Sonny Cox - high school basketball coach in Chicago, apparently high profile? Sometimes when old folks "disappear", it's for various health reasons, not that they've retired. Max Roach and his Alzheimer's come to mind.

Annie Ross Manny Russo Vido Musso

First Trane I heard was also on the radio. KNUS FM out of Dallas, one of the old "underground" free-form stations, picked it up in the AM while getting dressed for school, kinda faded in and out, but mostly in. It was something with Elvin, couldn't tell you exactly, they didn't back-announce, but I immediately felt what it had to be. Funny how occasionally you can hear something and just KNOW who/what it is, all the descriptions you've been hearing perfectly match up with the music you finally are hearing. It was like that. In retrospect it was something from 1965. End result, a week later I picked up Transistion, so that would have been in the first 10 or so jazz records I bought. That's one that engendered both an immediate and lasting love.

I have a long family & friends tradition of Cubbness, but also a smaller but no less real one of Indianicity. Planning on remaining neutral for the series and to simply enjoy 4-7 good games, but tell you what, John Lester did not make it easy last night, all that jawing.

Correct! Most of this is, simply, not jazz.

Maybe not on the same boat, but docking at the same port, perhaps. Still, I began "collecting" proper with they motivation of signing off with a very thorough "archive" of, not everything, but things I had a more than casual interest in. Don't want to let that fail with these two sets that are perfect examples of that.

That sounds right. It's a pro for sure, not some random thwacker.

Has it been established who the drummer was on that? Hal Blaine? That's a really schizo drum part, something different every few bars, never a chance to lock in to a steady beat, really, so the drummer's time has to be implicitly pocketized, which this drummer's time certainly was.

Dude, Ted Turner had a TV network, a baseball team, and an international athletic competition. If you're looking to market aerobics videos and become a physical fitness media powerhouse of your own , hey, the marketplace decides. I think anybody who can go from Tom Hayden to Ted Turner to wherever is looking for something. Glad I wasn't in that car, but would never try to take the keys away. Cars are made for driving, roads are made for driving, beep beep, CRASH, thanks, Liberty Mutual.

Sonny & Jimmy both looking sharp, each in their own way. Dressing well is inspirational, really. There's no one way or look, just present yourself with pride, personality, identity, and an air of distinction. Look like you're the one who belongs there, nobody else. And then, bring the music, bring it! I love it that Sonny went to India to study yoga because he figured that if he wasn't going to play any more, he'd still need to make a living, and being a yoga instructor was about the only other thing he figured he could do. Seeking both enlightenment AND a gig! Don't know where I read that, maybe some early 70s post-Return DB article?

Hey, let's play some Larry Williams records instead! One question, though - who is this Don Imocus guy he talks about?

Hell, if he never posts again, we've got present drama! Anger, counseling, support, it's like the Oprahissimo Board!

Both this and the Dial are sets which I will buy when they're about to run dry, and then for the "archive"ness. Really don't have a burning compulsion at this time to deeply engage further with most of the selections. Savoy really covered this stuff really well back in the day, and Dial, maybe not so much in America, but still... Hopefully it runs low soon, meaning that I hope a lot of people buy it quickly. Mosaic is still a worthy cause.

Ah, here's what's funny - either the guy has left for real, in which case you're all talking into the void the guy has left for now but will be back eventually, in which case you're setting the stage for more of the same the guy has no intention of leaving, is lurking right now and is taking all this in the fuel whatever fires he's got burning inside him, in which case, again, more of the same At some point, what's the use, the real-world application here? Have fun, I guess?

Ok, I have no idea, really asking for real...how do the stats break down for the series-winning % of the home team that wins Game 1 vs Road Team that wins Game !?

Yeah, Pete mentioned that album/band at the time, he enjoyed it!

Meet Olly Wilson http://www.bruceduffie.com/ollywilson.html BD: What advice do you have for young composers coming along? OW: I think young composers should follow their own muse and study as much as they can. By study I mean listen — my advice is to listen to as much music that interests you and to study as many scores as you possibly can. My musical background is steeped not only in the European classical tradition, but in the African-American tradition. I found listening to a great deal of music — in my case a great deal of jazz and so forth, and playing and getting involved, immersing oneself in the musical experience as much as possible — is the best way for inspiration. It sensitizes you a great deal to what’s going on around you, and it makes you critical. Any creative person has to be critical. You have to be critical of yourself, and in order to develop that kind of skill you have to know a lot. You have to listen to a lot. You have to have experienced a lot. This is done by playing music and making music — either as a performer or a conductor — listening a lot, reading a lot about music, and immersing yourself in all of the traditions as much as you can. I find inspiration comes from a wide range of sources, and you can’t always predict where it’s coming from. ... BD: Do you feel that you’re part of a lineage of composers? OW: Yes I do, very much so. As an American composer, I feel very much a part of the tradition of American composers, and specifically African American composers — a tradition which is much older than many people are aware. It goes all the way back to the early part of the nineteenth century with composer-performers like Frank Johnson, who was an excellent band leader — one of the first band leaders and composers, writing music that was both quasi-popular and at the same time was also outside of the popular, for the salon as well. It goes all the way up to the end of the nineteenth century with Dvořák and Harry Burleigh, and through the twenties with William Grant Still and William Dawson, and later on with Howard Swanson and then people of my own generation like George Walker, Hale Smith and T. J. Anderson, and people who were my colleagues and contemporaries, and some former students like Wendell Logan. [See my Interview with George Walker.] All of this is in addition to being part of the general contemporary American music movement. Obviously there’s been an impact from Stravinsky and influence by a number of other composers who have been active. There has been the impact of Varèse on my work in various ways, and I’ve been influenced by the music of Berio. [See my Interview with Luciano Berio.] But I’ve also been influenced by the music of Charlie Parker and, to different degrees, John Coltrane and Miles Davis. So it’s all of those things that have been the sum total of my musical experience.

I wish Duke Pearson could have done a record with her. But then, Duke got Flora...and no complaints here.