JSngry

The 3/14 issue of Time arrived in the mailbox today, and the opening paragraph of one of the two Trump cover stories contains this "gem" from David Von Drehle: No political intent in posting this, just wanting to point out what for me is one of the more unexpectedly hilarious spottings of "jazz", free or otherwise, in the general press of recent times, if not ever. Although, I get that people who are appalled by both Trump & Free Jazz might well feel doubly refreshed by the comparison.

Whenever I get mine together, it's gonna have Mel Powell on it. Probably.

Toby Floorshow Otto the Orange Floor Graphic

Those older Guy Warren records are the type of things that will fascinate you and confuse you and frustrate you all at the same time. I think the "angle" was "exotica", but the stuff goes way beyond that. fwiw, Griffith only plays accompaniment on the cut he's on, but don't let that stop you from jumping in with both feet ahead. No Earl Griffith, but hello, this:

Oh, but you should!

Illustrated by Cal Schenkel! Often wondered if he was Chris's son. The music on the sample...I am definitely intrigued and interested (both!) by the ideas.

yes, HIP, not HCP, "informed", not "correct", thanks. Sounds like it might be an interesting evening if the conductor is able to perform. Opening night is tonight, and no last-minute conductor change emails have been received yet, so hopefully we're all good to go with that.

Oh hell no! It just means I don't like to freeload, to be given all the music without reciprocating with a response. Quid pro quo. Don't want to just the BFT as an excuse to mooch, that's all I'm saying.

...and not just jazz...the number of members here who know a lot of things about a lot of different musics...I feel free (enough) to throw things up here that I'd not in any other environment because i know that there will be that common bond of "jazz" in the responses, that even if I'm getting it "wrong" there will be an understanding of why I might be so doing. Rightly or not, that feeling of freedom to inquire and share and grow means a lot to me personally.

For sure. I fail to see how "Miles Davis" firing "guns" at "white people" is not going to be a hootload of entertainment. I mean, what, is Tarrentino the only guy who's allowed to "go there" these days? Is the irony of that not obvious? Only "white directors" get to make retro-Blaxploitation flicks these days? Go, see, enjoy, watch a "Miles Davis" movie. We still got all the Miles Davis records in the world, don't we?

My participation over the years has been sporadic, to say the least, but it's always a time thing, I don't like to get "free tunes" and ehn remain silent. But I lov the BFT being there, and always get happy when the time opens up to participate. So my vote is to continue, if only for selfish reasons. Did not realize there was such a gap in upcoming presenters...my time thing is still unsettled, but I would definitely like to fill a gap...I'll sent a PM when things become clearer, ok?

A potentially interesting evening this Saturday at DSO: BACH AND BEYOND TON KOOPMAN conducts DEMARRE MCGILL flute TELEMANN Suite No. 3 C.P.E. BACH Flute Concerto in A Major HANDEL "Entrance of the Queen of Sheba" from Solomon J.S. BACH Suite No. 3 The Wikki entry on Koopman https://en.wikipedia.org/wiki/Ton_Koopman states a preference for period instrumentation and such (is that the same as the HCP thing?), which seems highly unlikely to be the case here. McGill is a highly gifted in-house talent. Any advance commentary on conductor and/or repertoire is certainly welcome!

Frank L. White Nancy Green Frank Brown

Kennegee Communications Kennewell Racing Deputy Sheriff Kenneth D. Ell

Weet Bix AFL Mark of the Year ASPCA Cat Of The Year Al Stewart, who according to Wikkipedia, developed a unique style of combining folk-rock songs with delicately woven tales of characters and events from history, which is fine if you like and/or care about such things, me, I do neither.

Yes, looser. Although perhaps the"official" recordings were intended to have cleaner readings...remember who this band was comprised of...but I don't think they swing any harder there than here, and for my tastes, the little bit of "sloppiness" is more than fine by me. The jaggedness of imprecision is indeed a game of milliseconds, but when it happens on the right side of wherever that line ends up being, whoo! Or as some of the younger folk say, WOOT WOOT! As for Mel, maybe it's my background, but I never had any doubt as to how essential Mel was to the band's "thing". Never. What I did fin interesting was the one guy who said that it was really Brookmeyer who was 2nd in command, not Mel, and isn't that a quietly recurring them in Brookmeyer's musical life, how it seems like he was always there to take some kind of charge? Not that he didn't earn it or deserve it, but the quote from some guy in that Jazz Loft set about how some guy came in and tried playing a little freer drew a Death Ray from Brookmeyer, and when asked what he did wrong, he got a "you know what you did wrong" kind of a I Am Master Of All Judgements thing back, and don't get me wrong, some guys are just like that, and every scene needs guys like that in order to do more than just flounder in a gloop of Interesting Ideas, I'm just saying, for that scene and as long as both it and Brookmeyer existed, Brookmeyer was That Guy, or so it seems. It also sounds like Jerome Richardson was one fun cat to be on a gig with, or in a room with, or, I guess, in a world with. I know it was fun as hell to Go To The Movies with him on United Artists records! The one really fascinating tidbit that I got out of the entire book (apart from Thad having some of his charts in Duke Pearson's book...who knew?) was that it was Mel who called Richard Davis for the band. That ended up being one of the greatest ideas ever, imo, and I would have never thunk it in a million years. Even thought the networking seems to have taken place within Traditional Commercial Environments, it ended up being a case of two 9-5 coworkers running off with each other out of the same building and hooking up for some the best sex ever and not even trying to be discrete with it, and dammit, let 'em go, this is FUN! I swear to god, there have been many times over the years (including a few today) where I get up and dance and SCREAM when Richard and Mel hit on one of their things, and if it's getting that good to me, you can only imagine how good it was getting to them. Serious question - are there still professional copyists? Not people who will load your score into whatever part-writing software they have, but cats who can still crank out handwritten parts like tornadoes or something? And to get hyper-arcane about it - who was Thad's copyist of choice?

Oh, ok, I'm not either. He sounds like a kid, which of course he is, but these are some grownass men he's sounding like a kid with. otoh, as a "family business" move, I find no fault. The young man went on to have a good solid career in "the industry", and no doubt the exposure (as in both getting it and seeing it) firsthand from the family business helped. Hey, I'd do that for my kid if it was there to do.

I'm getting old...is there a drug that is right for me that will help me keep my ears, as you say, cocked? And if so, do they use Kelly Hu in their commercials?

Henry The Eighth Dick Van Patten Mike Sexton

The Pillsbury Doughboy Larry Kart's Father-In-Law At The Time Morris Day and The Time

Let's hear it for the good sight-readers!

Rick Holmes in NO way "sings"!!!!!

I have a good time with this general period of Cannonball's output, the late-Zawinul-into-George Duke years. The dude was trying almost literally everything, but the one constant was Booker/McCurdy underneath, and those two were deep in the pocket no matter what, when, or where. No matter what's on top, that's on the bottom, always.. and Zawinul - this is Zawinul's last record with the band, and listen to where he is relative to where he went next, and it's not too terribly different, actually. The "convenient" history is that Zawinul wrote a bunch of funky hits for Cannonbal and then went off to make some "creative" music. The reality is much more complicated than that, much more complicated.

Enjoyed the first disc marginally but noticeably more than the second, but really, am quite happy with both. I do wonder about the book, though. After a while, it's like reading answers to a questionnaire (and quite often with the same type of responses). I get wanting "deluxe packaging", but sometimes less is more? Still, not complaining. I bought it for the music, and expectations met, if not exceeded, please sigh here acknowledging that we have discussed this review.

otoh, programs at sporting events generally run in the $5-$15 range. So, cultural events are like, oh, thank you for spending your money, here's some value added", whereas sporting events are more hey, you've already spent this much just to get in here, so don't stop now!. But remember, no overt subsidies and grant money for sporting events, just big tax breaks for team owners. I fully enjoy going to both, so this is said with objectivity, not rancor or snarl. But the only circumstances I'd even consider paying for a program to a cultural event (as opposed to a pop gig) is if it were a high-profile artist on a high-profile tour that was being ran like a pop event.