JSngry

Anything previously unreleased? The Dial Mosaic seemed to be a noble rescue. This seems like a noble final collation.

Charles Brown Martha White Amy Tan

Enjoyed the movie ok, dig Dick Gregory too, have no illusions about either, and have no lasting beef with anybody who has a repertoire of motherfuckers, it's not a one-meaning word, the definition will be in the sound

Now there was a man who played with personality! RIP, and all the love there is.

From here, Perry Como and Carla Bley, and then???????

Hey Tom, who's good for you on Sessions? My random Pandora samplings have yet to really click, but I do here the potential.

Yeah, that Dr. John thing worked far better than I thought it would. Actually knew a DJ who would spin "I'm Gonna Go Fishing" for his crowd, and the floor would pack every time.

There's an O'Farrill track on Kenton's Innovations In Modern Music set, "Cuban Episode".

Buttloads, on the other hand, defy any and all attempts at measurement. Perhaps loads of butt are nefatiously gelatinous to the point of .measuremental morphitude whereas loads of ass are pretty much assitty in and by design. Nobody ever says "ooh dat butt", and why should they? Just a theory

"metric assload"...chilling!

Steve Duke for a penny: https://www.amazon.com/dp/B000008OPY/ref=cm_sw_r_apa_5TfIxbG1W2VKX Not that Steve Duke is Steve Lacy, or even Danny Quebec West, but Steve Duke presents much the same conclusions as Steve Lacy while asking only some of the same questions from not even the same floor. When "jazz" gets removed, can Monk still be Monk? Will Monk be Newtonian or quantum? How ultimate is Monk, as ultimate as cultural landmark or as ultimate as profound universal omni-planar fact? What if there is no "past" past Monk, what if you do not go past Monk because you cannot? What if Monk is ultimately not music but EVERYTHING, music just being the 3D delivery system? Jazz is freedom. Think about that. You think about that.

Anybody have any statistics about how much new American symphonic work has been the result of commisions? Over, say, the last 50 years? Versus chamber or solo works? Here in Dallas, we seem to be putting down a welcome mat for Christopher Rouse, who to me is much like his older step-brother Charlie, not my first choice given other option. Nor my last, just to be clear. Along those lines, maybe, I've yet to hear Ives or Piston performed live, symphonic or otherwise, and that's a drag. But how is that gonna work unless orchestras turn into club bands and work 5-6 night a a week, 4-5 hours every night? Then, you have to bring a big repertoire of "all styles". That's how you get that done. But where is the money for that, both in bulk and on an individual contract basis? You're not gonna get that math. But yeah, imagine if Stravinsky had a road band that played hotels and shit. Don't laugh, just imagine it. And then wonder how anything gets played in a season of not all that many gigs a year that don't involve pops and such. Limited time, limited opportuniy, limited audience, big challenges about eveything, including what to select to play, so much reprrtoire, so little room at the inn, and who's gonna pay for it anyway? As much as I advocate for live music (because it's live music, that's why!), otoh thank god for records of this music and for people with just enough money to make them. Talk about underground... John Cage made his debut on Dial for chrissakes. ..still available on CRI (?), and omg, yes! As far as somebody championing these composers, is there an Elliot Carter festival anywhere in the world? Or a Walter Piston festival? Or a Charles Ives festival? Etc? Rightly or wrongly (wrongly) "recognition" of this type of music will not come from one talent pool pimping many composers, it will come from multiple talent pools pimping individual composers. Horse, cart, etc. Imo, of course.

Maybe, maybe not...I was going by the tread title, which referred to "US composers", of which "symphonists" are evolving (have already evolved?) into a very limited subset. If the article was referring specifically to actual symphonies alone, then ok, point taken. But otherwise, my question remains. American composers do have a body of orchestral work, but perhaps the most exciting American work has been done on a smaller scale. I mean, I'll take Elliot Carter anywhere anyway, butgive me the string quartets vs the "symphonic" works, hey... Has John Cage ever written anything "symphonic"?

You got that phone app that takes the music from the air and finds out what it is? I don't, but I've seen it work miracles on other people's phones.

Why are we thinking in terms of "symphonists"?

My "favorite" is probably the Steve Duke thing, because it fully engages the music outside of the realm of its original culture and finds no end of valid/serious inspiration and meaning there. End result - not Monk as "jazz" or Monk as "inspiration for non-jazz", just Monk as a set of ideas and pieces and attitudes and music that are all universal in their truth. Labels and cultural identifiers shed, all that is left is the nuts and bolts of the music, and how do we - anybody we - make that work? Not everybody can, not everybody should, but it is inevitable that it happen, not just with Monk music but with all music, I think. I've had some people say, wow, that doesn't sound like Monk, but it sure sounds like Monk anyway. Al(l)ways Know.

I think the live recordings pretty much dispel the image of Disappearing Wayne that the studio albums helped create (in part because the supposed dynamic was that less=less and that less to the point of pain is actually painful, like oh, I haven't eaten since sunrise, now here it is dark, gosh, I'm STARVING!) And I really don't see Wayne being a co-leader, much lrss a sideman in a Vitous band for 15+ years. Whatever one thinks of Zawinul, his personality/ego/whatever engaged Wayne's in a way that few could. There was a respect there, a deep respect. They both thought BIG, and if Zawinul was more of an external actor about that, hey, Wayne. Because Wayne. Miroslav, great talent, then and now, but he was not crazy like Joe and Wayne. Wayne and Joe were, like, hey, what if? And Miroslav was finally like, well, ok, that's not for me, and Joe and Wayne said, well, I suppose you're right, it's not. Miroslav didn't push back enough to move them so he got moved instead and that was that. Weather Report could have splintered and blown itself up long before it finally just...sighed away. If Wayne was feeling Miroslav THAT strongly, and vice-versa,...but no, that didn't happen. I mean, hell - Jaco could not get ahead of Wayne, and Jaco brought crazy to that band like no sideman did before or since. Wayne is gonzo, then, now, forever. Joe was too.Miroslav, not gonzo, sorry. Personalities matter when you're talking about a band staying together. You can have love, you can have hate, whatever, but respect is glue. That other stuff is just paper.

Carter Cash Brinks

He wrote a big bunch for Basie in the 60s, but nothing overtly Afro-Cuban in intent. Not sure if that relationship went back to the 50s though. You've heard Nine Flags? One of the less visible impulse! albums, definitely worth checking out in spite of the commercial tie-in of the theme. Bossa not relevant, correct?

Boring, bland, and Wayne-less, perhaps?

ECM