JSngry

Mission statements are funny.

Wang/Bartok...impressive, bot not really moving. Very "precise", and maybe that's where it's at these days, but...The music didn't breathe as much as it did inhale and exhale as per somebody's algorithm. But still, the piece itself is so damn meaty that, hey, ok, if that's what's on the menu tonight, I'm in No such issue with the Brahms Requiem.I started getting moist-eyed (quite unexpectedly), like 16 bars in and was there for the duration.Whether the zone was real or imagined, there was a zone, and it did not lapse. It was the kind of thing that I know I would probably fade in and out of if just playing a record at home. Road trip, maybe a better focus. But there, in the hall, with all that music being all around you in the air that you breathe as you breathe it (think about that) unfiltered and unshrunk...If you want to let it get inside you, it can. I did, and it did. So, again, Brahms. Here's hoping for enough time.

Gushee is deeply immersed in the music. No problem. But - Baby Dodds talking for less than 15 minutes gets me deeper/closer to the "it" of it than any of that. A book like Gushee's is excellent at corralling the horses of reality. With Baby Dodds talking like that, you're on one of those horses. Know the horse, build a better corral. Or maybe better yet, just keep riding!

King bought Bethlehem.

A delightful find, the music, the record, the liner-note pimping of the 1967 DSO, all of it, none of which I was aware of until last week. You might not always find when you seek, but you for sure are less likely to find when you do not seek!

Started seeing the tablet scores in a few chamber concerts last year. Before that, have gone to gigs and jams where the fake books are on tablets. It's here to stay. Tonight at DSO

Hall Overton - Pulsations/Lester Trimble - In Praise Of Democracy and Common Sense (CRI) Perhaps a little underwhelmed by Pulsations, but just a few listens so far I know nothing about Lester Trimble yet, but as "period" as his piece here is (a singing of what appear to be straight-up news reports?), he accompanies it with some rather spirited percussion writing that is equally spiritedly executed. It makes for a fun listen as a result. Anybody got any further pointers towards Lester Trimble?

What is the reason behind the label being named "Dot Time", anybody know?

Exactly. And that's why I recommend a critical reading of oral histories of the musicians who were there. Get as many of the words as you can outside of however anybody else tried to frame them. Not that there's anything intrinsically insidious about framing, just that I think you do better when you start as close to the source as possible and then research out from there. Perhaps not at the level of fact, but as far as things like environment, culture, etc. Over the long haul, oral histories tend to introduce variables, and variables are cool if for no other reason than they illuminate fuzziness as a natural condition, not a defect to be cured.

I read, like, 5 or 6 reports about 2 posts, looked in vain for anything to resolve in any of them, and then logged them all as Completed. That's punishment enough, on a Saturday morning, not even finishing the first cup, doing that on a phone. But my screen all of a sudden has this big red square with a 5 in it, so hey, who knows, maybe it was something else, people often report legit issues, violations, and problems, real shit that requires real attention, not gonna know unless you look. And that big red square doesn't go away until you log the items as Completed. So hey, kids, please don't call 911 to complain about your Big Mac not having enough cheese on it. We're civilians here, not the goddamned Big Mac Police.

Who the hell is Steve Knopper?

Perhaps the aim is simply to communicate an idea in an organically evolved language that is formed by various inputs. One thing that is becoming apparent to me is that if you live in a world that is not completely cut off from other worlds, it takes more effort to be isolated from other voices than it does to be touched by them. A helluva lot more effort. Perhaps even an unnatural amount of effort. As that pertains to, specifically, "jazz" and "classical" in today's world, well...The Afro-Eurasian Ellipse Effect is not an illusion. I feel confident in saying that none of the selections I included are driven by one music telling another how/what it "OUGHT to be". That kind of thought process is really...uh...unfamiliar to me, except for the occasional megalomaniacs and other anti-social types. Most people just have the goal of getting their music to be played how they'd like it to be played. That's a life's work right there. Where/What are you looking for the aim to be?

Seems to be a difference of interpretation in senantics. I view them as an indie label that serviced many markets, not just the black music market. Where this could have impact is in the arena of municipal branding, of attracting disparate markets to make some kind of a viable product out of it. If the focus is on King Records, Black Music Legend, well, Cincinnati is not going to embrace that. Nor will they get by with King Records, Seminal Country Label. They could get by with King Records, Look At EVERYTHING That Happened Here, but, really, that's probably not what Cincinatti wants for itself. I mean, hell, Nashville has finally begun to include it's Black Music history. If Nashville sees the business sense of the at least token and definitely belated optics of inclusion, then it's a breed headed for extinction that dynamically rejects it.

Dick Bock Woody Woodward Woody Woodward

My experience has been that the music creates it's own sociology, agenda, etc. as it goes. So, as much as I appreciate the "academic" overviews, I do feel that they have a probably unavoidable tendency to fit the subject to the agenda. That's neat, clean, and most importantly, publishable. But my preference is to critically examine oral histories. As inconsistent and crazy as they can be in the aggregate, I think thattthat's where you get the reality of the experience, the truth if you will, because the truth of life is that it is inconsistent, crazy, often irreconcilable within itself. Analog life, anyway. Digital life might well produce a whole other truth in those regards. But to study jazz history, I think you need to be ready to accept a. fully sloppy analog paradigm and all the dead ends, irregular shapes, and unbalanced equations that come with that. Accept them and revel in them.

Going forth, when you report a post, please include a brief explanation of your reason for reporting it. Also, you only need to report a post once. Thanking you in advance for your cooperation in observing these simple protocols.

Ron Gant Clyde Fant Atom Ant

I think it's CJ who deserves a little respect here. The dude's trying to create meaningful Web content, not host a floating psychodrama.

I would have to ask what kind of moral code has been violated here. All kinds of people make all kinds of posts here that get next to no traffic. Community-wise, there is no mandate, explicit or implicit, that anybody respond to anything, nor that board staff highlight or respond to any topic out of any sense of obligation to individual members, the music, or even to life itself. For the record, there is only one active board member that has the actual title of Administrator, and that is Jim Alfredson. If you did not reach out to him, you probably reached out to a Moderator. Whichever one it was (it was not me), will respond to you or not as they see fit if/when they are available. Regardless of any of that, nobody can force posts out of other members. Your disappointment is understandable, but another option would have been - and, actually, still is - to continue bumping up the original thread with fresh enthusiasms instead of creating a new one to express your hurt at the absence of response to it. This thread, in about two hours, already has more than half the views of your other thread, which was started on Wednesday. Is this the thread to which you want to drive the traffic? Also, it looks like CJ has not yet posted the material on his site, nor has he made any announcement here (at least not that I'm aware of) of any upcoming feature. CJ is very good about announcing his work when he sees fit, and from my experience, he gets a certain amount of "sure" traffic when he does so. The man does good work and is not bashful about presenting it when he is ready. He also exhibits a very high level of quality control over and ownership of his content. Despite the absolute worthiness of the subject matter as you describe it, you did the interview for him, not the other way around. Ultimately, it is now his content,and he certainly seems to have game/life plans both long- and short-range, so, maybe...chill out and let him handle it going forth?

"Music is no good if you're evil." There needs to be a pamphlet of this talk, transcribed and available in bulk.

Lots of personal/family shit going on this year, have not really watched an entire Rangers game all year, just followed along with At Bat updates and such, caught the lst few innings a post-game shows along the way but.never got the "feeling" to sit down and go all in, not with all the other shit eating so much time. Thank you, Rangers, for justifying my decision.

Ok, back home, more time and bandwidth now...I don't know what this means, really don't. Care to elaborate? Or not?

I don't see how King overall was a "black music indie". They certainly covered that market, and extensively, but they covered other markets as well. I went for years thinking that King was an R&B label, because in the R&B bins was where you found the stock, especially for 45s. But hell, that's the only place I was looking, so talk about expectations determining results, hey. Their beginnings as a hillbilly/country label were unknown to me for a long, long time. And after the catalog got sold to Starday, that's the stuff that started showing up in beaucoup quantity in all the truck stops. As for Cincinnati R&B, yes, JB was the real "name" King artist, but there's enough Memphis-ish flood plains from the label with people like Roy Brown, Wynonie Harris, Hank Ballard, etcetcetc, to say nothing of the Bootsy legacy and all the gravitational pulls that generates, that, yeah Cincinnati could do something with that if they wanted to, so the only way I find their attitude to be unreasonable is if they don't want to attract the types of people who would be attracted to "that kind of thing". And from what I've seen in and about that area, the assumption that they do not want that, that's what's not unreasonable. Just sayin'... I drove through the city one time and caught a sports radio call in show that was full of callers bashing Barry Larkin for being lazy and shit. There were more than a few "you know how they are..." comments which could have just meant high-priced athletes in general, but...that part of the US is, as I read in one recent article, older, whiter, and less-educated than is the trend elsewhere in America. In a lot of ways, it's like East Texas, where I grew up, and I can tell you that anything in East Texas that would encourage large quantities of anything other than more of the same is not going to get off the ground as far as a concerted push by the municipalities. Maybe in the next 20-50 years, but by then, who will care enough to want anybody to remember? "Repressive reputation"...not too many lines to read between there.

Let a man come in and do the popcorn.