JSngry

I was seriously considering going back this evening, but no cheap seats were available, and I got called for a gig. But,,,yeah, I would have gone back. Bitching first - I remain wholly unconvinced about Phillip Glass. I get what is happening and I get why he thinks it needs to happen, but...I am wholly unconvinced that I have that same need and/or desire, nor that I have a need or desire to confront that past what I already have. so. The Palestrina prelude was freakin' gorgeous. I do not know this piece at all, but would like to (and yes, I know it's an opera), and perhaps, need to. And, of course, Planets. If ever a piece was ready-made for "you gotta hear it live", it's this one. The organ, with those brass pipes big enough to hold a small corporation, do indeed move air, as does the brass section when coming on strong. Air moves, and you can, not quite but almost, literally, feel it moving. Young's choice of tempos felt almost like they were playing a pops concert, but the key word there is almost. Everything still breathed and the questions in the music were still left as questions instead of being rendered as solutionary declarations. But the questions were also asked knowingly. This was definitely a post-Star wars pop culturally aware Planets, but... I did not mind that. Maybe I should have, but never having heard the piece live before, I did not. I was willing to be played, if that's in fact what was going on. I've seen far uglier games attempted with much less meaningful music. To that end, perhaps, Simone Young was/is a very post-pop conductor, if that's the right way to put it. Her beat was very obvious to see, follow, and feel, and her phrasing, though fluid, left little doubt as to where the landing point was going to be. She's also not above doing pony kicks and Pete-Townsend-esque windmills, which had me LOLing in a few spots, literally (don't worry, they were quiet enough and the music was loud enough for them not to be heard). So, yeah, a little showmanship going on, but again, the music did not get sacrificed (except for the aforementioned feeling of the pop-cultural awareness that, really, s unavoidable and not really at all an inherently bad thing in and of itself, imo), And besides, my god, it's not like conductors have not willingly played to audiences in their visuals before. So yeah, I was ready to go back tonight, and to maybe even to get there at intermission, because, Phillip Glass...i can let that alone, pretty sure about that, yeah.

Next time I hear about anything happening over there, I'll put it up here. tonight was very last minute, Andrew had been asked to bring - and had booked - a piano trio but the pianist called up sick, late this afternoon, and Andrew was nice enough to call me to do a tenor trio. It was a fun night. Repertoire and performance was very "inside" but that was a function of the gig. The venue was very small, an office in an office complex. Jason Davis is a co-founder this non-profit called Jazz BeCuzz, and this is their space. It's set up to be an "arts and education outreach", and they wanted us not just to play but to talk about our experiences in jazz, what jazz means to us, etc. And they had painting tools set up both at the tables and over in one corner. Jason was in the house and sat in, which is always fun, Jason Davis plays with that "thing", always, one of the few guys around here who still does. So, it was a unique evening in many regards, unique and fun. Here's the website if you're interested: http://www.jazzbecuzzac.com/home.html

This opened up literally about an hour ago. ANDREW GRIFFITH TRIO Andrew Griffith - Drums Jim Sangrey - Tenor Drew Phelps - Bass 8-10 PM Tonight Nov. 21 Presented by Jazz BeCuzz The address is 9535 Forest Lane #116 Dallas TX 75243. The building is called Waterchase but...no one really refers to it as that. It's the building that sits BEHIND the budget suites that's on the corner of Forest and LBJ.

Spuds McKenzie Honey Tree Evil Eye Bobby Goldsboro

Blue Oyster Cult Blue Cheer The Crimson Tide

If this is the cut, I would have guessed Red Holloway before I would Von!

Don Demter Donell Jones Dontrell Willis

The Lady In Red Lady Of Spain Woman At The Well

Joel Kaye Connie Kay Louis C.K.

Cap Anson Mark Melancon My Melancholy Baby

Vinetta Hobbs Vanetta Smith Vunetta Shankle-Sadler

First World Problem!

Archimedes Sergio Mendes Gregor Mendel

Bibendum Bibi Bourelly Baba Ram Das

I kinda like the "What Price Love" thing, they're straight up pop lyrics to a melody which can sure work as one. Sounds like Bird even intended such. Everybody's looking for that hit for the bank, ya' know.

You need it, you need it. This would have worked fine with a little crispier phrasing. Nat Cole would have killed it. Interesting tale here: http://www.jazzstandards.com/compositions-1/yardbirdsuite.htm Vocalist Sheila Jordan, who knew Parker, told JazzStandards.com that she learned the lyric from a 1948 recording by Earl Coleman, the first singer to record “What Price Love?” Woideck says, “This piece is best known in its instrumental incarnation, but in the 1940’s, singers Carmen McRae and Earl Coleman learned the lyric from Parker.” McRae performed “Yardbird Suite” often and originally recorded it on her 1955 album By Special Request. However, in the liner notes to a 1991 compilation (Here to Stay) of her early Decca recordings, Dick Katz recalls that on March 12, 1955, he was on stage with Carmen when she performed the song around midnight at Carnegie Hall. “Later we learned that Bird had died that night, perhaps while Carmen was singing Eddie Jefferson’s vocal setting of his tune.” But the lyric which she sang was Parker’s own.

I've heard - but do not have - the Pep's "Resolution" and yes, it is major.

It is easier to carry around, especially if you have the house provide the amp. Economics - an electric is (or used to be) a carry-on, with a soft-cover case if desired, whereas a bass violin required additional expense for both packaging and cartage. If you're traveling, that's impactful to both your bottom line and your peace of mind.

I like how Paul Simon is still grappling (in a natural way) with the premise of that type of song, whereas Paul Desmond gets the premise from the beginning and then runs like hell with it.

Thanks.

Name doesn't ring a bell...wonderful cover no matter who.

Paul Desmond & Don Sebesky do Paul Simon better than Simon & Garfunkel? Take a stretchy song and make it looser? If it's "easy listening", why is it so complicated? The Great Ones Always Make It Look Easy? The Father IS The Father Of The Child?

Lloyd M. and Paul F. Skinner Paul F. Simon and Frank Lloyd Wright Andrew Lloyd Webber and Tim Rice

That over art is a trip. It's like Tatum is on a magic carpet that is about to go off out into space, like a genie coming out of a bottle. Is it at all credited?