JSngry

He's been on many records I don't really get into, but it's never his fault that I don't. Also, thinking of him as an "ECM drummer" is maybe a little myopic. He's probably one of the least stylistically restricted drummers of our lifetimes. What that has to do with "greatness", hell if I know, but the cat can play anything with anybody and bring it, so I'll let it ride on that.

I knew Blowfly long before I knew Clarene Reid, but I'm glad I got to know both. RIP

If you get the chewable kind, it's like taking a Flintstones.

Still trying to do the math on how this is going to be anything but Make Belive Retrofit, nor with the playing, but with the songwriting, not just a "reunion" but an actual "follow up"? Just make a good record, ok?

But...we know what It all means...right?

For me, it's one of those 'it's about time you kids got a life of your own" type things.

And about the music...it's "just like" 70-s spiritual jazz the same way that Neo-Soul is/was "just like" the older Soul, which is to say, not really all that much, depending on how you're dialog-ing with the music...older/whiter people and youngrr/blacker people not necessarily hearing the same "things" in the same things, just sayin'... One of the most depressing thoughts I've ever had about the post Young LLion jazz was that maybe this really IS what it's like to be a younger black jazz musician today, that in order to havea decent life you really did have to go to that classical/repertoire place and stay there. That relevancy to the Iimmediate "now" was something that happened away from the music's infrastructure, not from within it, that the jazz establishment was always going to mstter. Well, we have seen what the jazz establishment has been wanting, and why they have been wanting it. At least for the time being, this is none of that, and at least for the time being it is continuing to radiate outwards. So yeah, good thing, very good thing. Otoh... Charles Lloyd. Otooh, James Newton. We might pay attention when people go back "local"...everywhere is local now.

I'm more than completely OK with Kamas I because I am so completely irrelevant to anything having to do with any of it except at the level of interested bystander. I'm talking about "audience" here, much more than music. I can't begin to tell you how good that feels. 100% serious about this.

Jazz Heritage was essentially a record club, correct?

Not yet...but I do like me some Jerry Lewis, which was not always the case, so...who knows?

The thread is a topical one, and certainly not without political implications and ramifications. But per board rules, the discussion is rightly held apart from them.

And oh yeah, totally Bill Cosby- free jazz thing happening here...think about that from all the angles, not just the obvious ones.

Quite.

Try Bill Evans Symbiosis on MPS.

The musical content is identical to the Grant thing? No, not identical. Cool!

Lots of reexamination of this WR thing going on, it seems. Is it concerted or accidental? Either way, can't say that I'm unhappy about it!

Lots of interesting things in that article...older people might not immediately notice how "real time" all of this is...history repeats itself, etc. What I find perhaps most interesting is the notion of jazz taking itself back from itself. Lincoln Center Etc., what some of us have been PO-ED about, well...This is most definitely not that.

There was a once widely circulated bootleg of Grossman playing at a club called Brown's that is really revealing about how much he appeared to be into "originality" and how much he was into "vibe". I think with him it's always been about "vibe", and that bugs me a lot lessthan it once did. Now, having said that, the only SG that I really want to hear are the Stone Alliance/PL things. For me, that was him at all levels of personal peak. After that, well, what are you gonna do with all that, huh?

Who would that Last Man be, and is he really from Shreveport?

an $11 mil "face save", that's pretty nice...and 7 years? For Chris Davis? Nothing against CD, he's a East Texas boy, and we here all hoped, in vain, for him to break out of the "AAAA" player mode. Very glad that he did, but he's 30, and has the injuries, so... If that's how the O's use leverage in their negotiations, god help 'em.

Mic Gillette, of legendary Tower of Power horn section, dies http://www.mercurynews.com/news/ci_29399834/mic-gillette-legendary-tower-power-horn-section-dies?source=rss Mic Gillette, founding member of Tower of Power, dies at 64 http://www.sfgate.com/news/article/Mic-Gillette-founding-member-of-Tower-of-Power-6766775.php

Collector's Choice was a great label sometimes. they put out the Atlantic Maynard/Chris Connor album, all(?) of the Dionne Warwick Scepter albums, etc. LOTS of stuff that "needed attention" and got it. Not Bear Family, but hell, who is? Pretty quality conscious outfit. What experiences have you had that have you feeling otherwise? This being a (potentially) loud band, and these being "leftovers", I'm fulling expecting the "sound" to have "issues". But again, In Bruno Carr I Trust. The only "weak link" for me in the lineup is Steve Marcus, and I can live with that. Keep telling yourself - THIS IS NOT A RECORD. Because it's not, it's people in a room playing more or less right up in other people's faces. If not exactly, a helluva lot more than playing in a studio right up in the microphe's faces. There was some AIR moving in that room! And the longer it goes on, the more Bruno Carr makes the Groove Babies. I can see why Miroslav resisted groove playing in Weather Report, but the objections must have been entirely philosophical grounds, becuase...he's in there. An ok, what's THIS?!?!?!?!

Any truth at all to the Shreveport thing, has that seen the light of verification yet? I tell you, this is in so many ways a "failure", but in what is for me the most important way of all - clarity, of vision and objective, I'm impressed as hell. whoa... Tempted to say that that's the "Warner Brothers Album" in that it sounds like if Van Dyke Parks was writing Smile with Beefheart instead of Brian...or looking for a less "commercial" successor to Song Cycle...

Live And In Living Color...take away the nostalgia and that's still one of the most amazing documents of a live dance band ever, not the cultural phenomenom of Goodman/Carnegie Hall, but hey, can't do anything about that.

So what's the deal, did they just do that one "thing" and not move anywhere with it? Because I'm really liking this first, fuller look at it, but 40 years of more or less "that"...that's a lot.