JSngry

Everybody Ever Named Dave Anyone Who Had A Heart All The Single Ladies

Who's aware and what do you say now that you are? Thinking an exploration is in order but spurring on is welcome if deemed appropriate.

Should the streaming page work on Android? I can load the page but the play buttons are, like, still images, they don't respond at all.

Treat Williams William H. Masters George Schultz

Looks like his body aged well, a lot to be said for that.

Hey, Wayne and Joni were splendid together, and if Norah is not now or probably never will be Total Joni Force, she's still an excellent singer who's probably never going to bump into the pigeonhole ceiling. Not looking forward to the covers, probably, but an opportunity to have Wayne play on your original material would, hopefully, cause one to dig deep and bring accordingly.

Ok, thanks for that. I really did not knoe.

Tom Collins Tim Collins Timmy Thomas

That does not sound uninteresting...

This is a real thing? Details, please!

Yeah, I was just looking for an antecedent for that type of ever-present left hand in "bop" pianists. Haig sprang to mind, but only in that sense. That was the first thing that hit me about Haig the first time I heard him, that left hand was always there, it seemed. What do we know about Freeman's biography, was he a native Los Angelino, where did he come from, who was he in the army with, who'd he hang out with to shoot up, that kind of thing. Because I do agree that both him & Hawes do give a perception of a Silver influence, but the chronology really does cloud that issue more than just a little.

Earl Leaf Leif Erickson Leefe Robinson

HEY!

That left hand...Al Haig, maybe? As a genesis? No?

And then you can get into the armchair psychology of was Fischer's genuinely deep grasp of and fucking with harmony a result of having some kind of rhythmic anxiety issue, was that what drove the desire to make all these really...tangy-bitey chords, or was it just that the guy was, like really right about some things and really wrong about others? And then, in a post-Dolphy mindscape, does it really matter? Because once the emotion makes the sound, the sound might be gone, but so is the motivator. Once it's received, it becomes an interpretational response by the receiver. So even if Fischer was writing chords that were driven by some kind of papa too-tightness, what I hear is the beauty of notes fitting together in really beautiful ways, ways that perk up the ears and stimulate the aural imagination. So, which is right, what if both are right, then how about that, then? Also - nothing Fischer wrote harmonically cannot be found in the work of "classical" composers who would have been at best one or maybe two generations ahead of him. So he was very much a man of his times in that sense, operating in a different world, one of still very much (and for a long time, almost exclusively) diatonic/tertiary entries and exits, recipes from one world being served in another, people like the flavor, but the cook angsting out that they don't eat it correctly (and seriously, this is something I contemplate when dining at Chinese or Indian buffets, seeing all the people who just pile shitloads of individual dishes on top of each other and then eat it all as one indiscriminate mass, do the people who make this food ever see that and just want to scream out loud NOOOOOOOOOOOO!!!!! ?)

Wolfgang Puck The Rat Pack Sarah Coventry

Also...I would really like to have asked Fischer what he meant by that, because jeepis chrysler, Warne could come at "the beat" from all sides, 360○ and in all dimensions, this "behind the beat" thing, not really relevant in literal being, what was he trying to say, really? It's like "they" said that Lee "ruined" his tone playing with Kenton. No. I mean, I get how shit changes and never goes exactly back, but "ruined"...explain what that means as extrapolated to a true meaning, I don't get it as a final starting point.

Guitar Man Ukulele Ile Whoever It Is In The Kitchen With Dinah

The guy had seriously madbadass crazy skills about harmony and color, yes. But it just goes to show you that brilliance and ignunce can and do coexist, no, occupy the same space at once, whatever contradictions exist. everywhere else, they won't exist there. People are pretty much crazy by definition.

Yeah, too bad Warne ruined Thesaurus with that "Lennie's Pennies" shit, too bad that's one of the greatest recorded things ever, too bad about that.

Nick Stabulus Gus Triandos Alexis Zorbas

I'm not one to get all uppity about pitch, but the Byrd album bugs me b/c Byrd is so often not in tune with the strings...not as in not exactly in tune but still colored pitched, but as in so far off as to be noticeably microtonal, which I don't believe was the intent, so....wrong. For intent/context. That's always puzzled me too, because Byrd in those day was a consummate professional about stuff like that. Maybe I just heard it funny.

See if they're both packaged the same way, same size, weight, etc.. Might have something to do with sorting. Or not.

Remember (or remember reading about?) when Mingus got called crazy and the like for saying that "gangsters ran jazz"? Pretty sure he was referring to Levy, at least as a starting point.

Not sure if you want to include this or not, but there are the contributions to Prince's releases. The guy was definitely one of the more open thinkers of the music, not in an "all-inclusive" type of way, I mean, the one time I spent time with him he was delightful but equally potentially prickly, definitely had his "ideas", but very few people are that, and I'm not sure that that many really need to be, or can be without faking it. But open in the sense that he knew a lot of shit, and he saw no reason to not use it wherever he was, like, why NOT? And he knew it deeply enough that he could put it there and it would fit. So, yeah, Clare Fischer, like him or don't but never dismiss, diminish, or disrespect the crazymad buttload full of high-level skills this dude carried with him.