JSngry

Shuvel Lavelle Crawford The Real

Gotta ask - what's up with you guys and the scarfs? It was cold, or new funkjazzfunk fashion trend? Sartoriality aside, that's quite y'all's own personal pocket there. Go 'head, as the people say.

Tone Jansa Tony Taylor Tones On Tail

ok

No, not everything, not always. There should be no "price" to not being depressed (nor, really, to being depressed). I suspect that if you were able to internally refactor that equation, you might well be able to sleep when you're depressed, sleep when you're non-depressed. i.e. - sleep no longer associated with depression or the lack thereof = sleep as just sleep. That math makes sense to me. Sleep = self-imposed "symptom" or "price", that math does not make sense to me. Now what I don't know is if that equation is re-factor-able through self-examination/confrontation/whatever, or if's a chemical/hardwired thing, or if it's some of each. And I certainly wouldn't want to say that it's a one-size-fits-all thing. No way. But it seems that if sleep makes you happy, then be happy with sleep, accept it as being as simple as that, and see where that goes. I sill say there's something to be said for owning your insomnia like a boss. The only reason I decided to take control of mine was that I have ongoing responsibilities that require a reliably constant(ish) schedule. If not for that, hell, I wouldn't sleep except when I slept, and I'd sleep until I woke up. I've lived like that before, seemingly forever, in fact, and it made me happy, all of it. What's making me happy now is that I can meet the obligations of my responsibilities as they now exist. But when retirement comes (and if it comes in the form I envision it), fuck it.

So...you associate sleep with depression, and you do not want to be depressed. So perhaps there is a part of your mind where you do not want to sleep out of an aversion to being depressed? Can't hold me professionally accountable for bad amateur advice/armchair analysis/whatever, but if there's any validity to that thought chain, look at it with somebody who can give you good advice.

Is this music available elsewhere at a more "in-print" price, or is it one of those gotta pay the band things? I keep hearing selections on Pandora and I want it, but not at an unnecessarily expensive price.

Ron Fairly Bob Farley Tom Ferrando

Yeah, dat shit ALL gone now. Pity, because I bought a lot of records after hearing it through their stations.

First encountered him with the Armstrong biography that him and Max Jones did, which for some reason my high school library ordered, never cataloged, and let me keep after graduation. Tax dollars at work, hell yeah! Everything I've read by him since has been informative, entertaining, and enriching. RIP, and nicely played, sir.

Why break up when you can crack up? Or hire Hal Blaine as a WMD, nobody gets out of this one alive.

Ah, so it is a thing...thanks, did not know that. Guillou seems to be into a "darker" vibe overall than Miller, cool how there's that much room for difference.

The Comeback Kid Florence S. Baker Coombs Benedict Cumberbatch

Finished a binge-ing of The Leftovers Seasons 1 & 2, began when the wife started on Season 2 because it was free on On Demand. She got more than halfway into it, said "I just don't get this", so I watched and asked here if there was a Season 1, and she said yeah, on amazon Prime, but it costs. So I said, wellllll.....looks like if this is going to make any real sense, we need to start from the beginnings. And so we did. What a wonderfully oblique tale this series tells. Interesting to me that neither season was written with the knowledge that there would be one to follow. My "takeaways", such as they are, are pretty simple - "safety" is an illusion, don't confuse something not happening with something happening, family and love are fragile, perhaps illusory, but the choices you have are to hold on the them or else be broken, and even that might not be a "choice" as much as it is one of those things that you confuse something bad not happening with something good happening. Then again, it's all a choice, really, whatever happens has nothing to do with you, but how you respond to it has everything to do with you. At least that's what I get. Many different interpretations, no doubt. Although I did find it interesting that when the GR finally got into Jarden, all they did was sit around in their same group, smoke, and mock the tourist video. Like, that's your triumph? Like I said, a wonderful story, very moving at times, and definitely as "contemporary" in its message as anything I've seen in a good while. What they'll do with Season 3, I couldn't begin to guess.

My how time flies...it seems like it was just a few years ago they were having their 50th anniversary!

Jimmy Webb was being heard across the board. Of course, a writer of epic songs deserves at least one mega-epic interpretation of at least one of them. Used to be that everybody knew this last one, but I take nothing for granted these days.

Flayvah.

Been trying to share this with people outside of the board here, and...pipe organ seems to be a tough nut for many people. Vampires & funerals, apparently. However, me myself, I enjoyed Clamor so much that I took a chance on this one: which, yeah, looks like it might be the dorkiest record ever made by anybody, but no, not even close. Definitely not the hippest, but I like this notion of "classical" improvising as well as playing/interpreting. Mr. Miller writes in his liner notes: Oh the one hand, duh, but on the other hand, yes, absolutely! And if Miller doesn't always get answwers as magnificent as his descriptive process, good things still happen. No idea if this is a "thing", classically improvising pipe organists, or if there is, if Miller is at or near the top of the heap. I do know that his music has a feeling of "rightness" to me in terms of intent, execution, and scale. I'm glad to have become aware of him, and wish him well in his life and with his music. There can't be that many people doing this!

Mr. Pierce went through, as they say, "some changes" over the years.

Just wasn't sure why this needed to be a stand in for any kind of instrument, not particularly. The "why not?" period has not completely passed me by, but that's a starting point now, not an ending point. Although "the guys on the Weber forum" are enjoying it! http://tvwbb.com/showthread.php?64054-Weber-kettle-played-like-a-drum-by-Violent-Femmes-on-Late-Show-with-Stephen-Colbert

np, happy to shine a light! Those early 70s Cobblestone/Muse things were rife with good records of under-heard organists, Bobby Pierce just one of them. You also had Mickey Tucker with James Moody, Bu Pleasant, The Return Of Don Patterson (great record, that one, Freddie Waits!), Neal Creque, definitely one of those "seek and ye shall find" label(s).

It is very interesting, imo. Pierce sings a little along the way, but it's of a piece with his playing and is a nice texture within the overall record. The playing is, as to be expected, excellent. The whole thing's got that "in the moment" "community" feel (aka grooooove) to it. Proceed with confidence, I'd say. And don't overlook this one's predecessor (Introducing Bobby Pierce on Cobblestone, titled something else on Muse, iirc). Also excellent. Also recommended, from 2008, on Doodlin' Maybe if there had been 50 bajillion Bobby Pierce records, I'd be all "no, man, not that cat again, enough". But there haven't been, and as it sits right now, yeah, Bobby Pierce, Bobby Pierce should be heard, I think.

Correct about the rest of the lp, plus the CD added a few things extra that maybe should have made that LP instead of those sketch recordings. But I can't say that "guilty" was anything I felt while listening to Wayne on "Barracudas" all those years!

Verve had been all but dormant for a few years, so it seemed like a large/significant series at the time, although nothing in comparison to the 2-Fer series they would soon get on with. By today's standards, not large at all. If I'm remembering right, it came out in two batches over the space of a year, year-and-a-half, something like that. Or maybe just one batch. https://www.discogs.com/label/370558-Previously-Unreleased-Recordings Oh, also on that LP was/is another quartet cut labeled as a Gil original called "Isabel" which was later identified as Al Cohn's "Ah, Moore". That one has also been deemed a mistake and banished from further issue. Neither are really "significant" recordings, their function as sketch/rehearsal tapes is obvious, but they do exist, and, as in this case, if ever you want to trace the chronology/evolution of anything, it's nice to at least know about them.

Carmen Jones Georges Bizet Les Brown