JSngry

Method Man Thom McCaan Ray Milland

Rich Man Poor Man Halfass

Hey Brenda, I'm booking a flight to NYC, gonna go see Monday on Thursday, spend the night, and come back on Friday. That's gonna cost me a helluva lot more than $300.00 whether I go or not.

The case for a Boston Drum Thing that runs straight through Roy Haynes to Alan Dawson to Tony Williams is there to be made, for those who want to make it, particularly when it comes to snare drum tuning. I was so wanting this to be Alan Dawson, but no, it's Roy, and yes, of course, but not as dissimilar as foreknowledge might have to hear.

Yeah....I kinda think that anybody looking to get inside a Jazz Trojan Horse behind this not gonna have any surprise happy endings or anything. Remember "jazz-rock", back when rock was really popular and mattered and shit like that? And how jazz fans of the day were either revolted or hopeful that the kids were finally coming around to some good music and all that, and then kids started coming around who played jazz with a rock mind and vice-versa and that was, like, Gil Evans' last bands, and it was beautiful, but it was not no Jazz Trojan Horse, that's for sure, and a lot of Old Jazz People just did not dig it at all. But Gil said it himself, these kids never danced to Benny Goodman in person, why should I expect them to play like the did? Paraphrased, but yes, that was what Gil Evans thought about it. Well, hip-hop now. Only I don't see where Kamasi Washington has that Gil Evans mojo, more like...Creed Taylor. Creed Taylor from the William T. Fischer era we all are trying to have such fond memories of. Y'all remember that great run on C-Strata-IStone? Impact Like The Red Wind Clay, that's the one everybody remembers, but go back and check your discographies, jazz fans, there's more that you're just have not rememberinged yet. And Quincy Jones the way he would hope to be remembered, what he got done as far as people looking at things, not how he went about getting it done. Yes, Rambo, we DO get to win this time! Otherwise, jazz as music has mattered all that it's going to matter to those for whom it's going to matter. Going forth, it's all about attitude, iconography, assumed (correctly more often than not, but not always, and effective only as starting point, not finish line) heritage and proactive retroactive futurism. America's Classical Music!!!!!! Otherwise, I keep meaning to get around to Flying Lotus and that Butterfly thing, the bits I've heard have been fun, but, really (and seriously/honestly) that's thing's gonna happen with me or without me, so...no rush.

I think you can go to any urban center and find African-American bands playing to African-American audiences music(s) that are very similar in style and quality to most of what Washington's put out here (and perhaps more resonant in terms of that elusive "substance"). You're likely to not hear about them because they're local, they play lounges, and they play a lot of cover tunes, and haven't thought to play the iconography card yet. But the end results...I've not heard the entire album, and probably won't, but most of what I've heard...there's no surprises there, which is just an observation, not a value judgement, because "surprising" people is not really the object of this game. Nothing against Kama Washington or any of that, just...I've heard any number of gifted players with jazz ears play club dates and turn routine material into muscular dance music more than a few times. It's kinda normal, really. The gigs don't call for the uptempo burn stuff, but it's implicit in everything, really. Like I said earlier, I'm glad there are people who are finding a need for this type of thing, and I'm glad there are people meeting those needs. It's a good thing on both ends. But...it's for the younger people who haven't ah it yet, and that's not who I am in either regard.

http://www.birdlandjazz.com/event/871223/?utm_source=fb1&utm_medium=msh Monday Michiru Thu, August 20, 2015 Doors: 5:00 pm / Show: 6:00 pm Birdland NYC New York, NY

And it's funny/"funny", I've heard some people over the years, when you talk about how Lee, Sonny Rollins, Roscoe, a few other, are willing to take their time to get it to where they really want it to be (if, as was often the case with Sonny, it ever got there a all), they would actually get kinda riled and say some variant of "man, I don't have that kind of time to wait on anything", sometimes it was an issue of marketplace realities, sometimes it was more personal, like, you know, when you hit it, you're supposed to already be where you need to be, that's kind the whole point of it, right? The notion was that sure, people have levels/gears/whatever, but, you know, you're a professional, you're getting paid, you should always have a base to start from, not just in competency, but in zone. WAIT for it to happen? Hell, while you're waiting, somebody else is getting your gig, somebody who is not that patient, in any way. And I get that. Get that and fully feel what drives it. Making a living is not a luxury. But still, the most radical/subversive/noble thing a human can do, I think, is to not be bullied into being false so as to appear true, especially if it's one's self who is doing the bullying. Sometimes/usually the bullies win, that's why they do it, because it works more often than not, just sayin'...Fear is one helluva a motivator, but it's not always a healthy one over the long term.

NHOP

Is your cover really green like that?

I can think of very few "improvising" musicians of this or any other generation or genre who would be this willing to let it get there on its own terms, not when the terms are this clear and the bar so high. Especially not in front of a bigass hall-full of paying customers. I don't know if this is "great jazz", but it sure as hell is a great example of really improvising. And check out Alan Dawson, just riding it along leaving that canvas totally open for anything Lee wants to play. And dig how when Dawson kinda lights him up during the fours, Lee lights him back up in return. That's a Sonny Stitt move right there, but Lee Konitz is the anti-Sonny Stitt. Yet and still, warriors gonna warrior, no matter what their battle. And then, off he schlubs, noun as verb, motion in poetry. Music is about music up to a point, but after that point, it's about character, period.

Kay Soh https://www.youtube.com/channel/UCYfrv5o__bn2Y2gnlL7UNnA Soh Watt https://www.facebook.com/soh.watt.7 Charles Wright

So does that make Wayne Beyond Say?

Kuna High School, for one: Which ok, that points to the necessitudes of the other, but...where have all the factory jobs gone, those weren't necessarily a bad thing as far as all possible outcomes go...fine line between survival dreams and happy-ending fantasies, perhaps? Knife? What knife?

8 Bold Souls 8 PBA Members Cotton McKnight & Pepper Brooks

Shreveport, Louisiana Pictures can lie. So can advertisements, but sometimes not.

I always dug how the bass line on this one integrated itself into the horn arrangement. Mulligan as arranger, never mind the trappings, the arranging mind was being used in some pretty un-obvious ways.

As hard for me to find fault as it is enthusiasm. This is music for young people who really need this kind of music in the flesh in their own time, and somewhere when I wasn't looking, that kinda got to not so much be me, in any way. I mean, I had mine, and still do. I do understand the need, though, and if it was me needing it, I would be digging the shit out of it. There are so many more other things that are being done so much more wrongly...and so many of them called/calling upon "jazz"...let the kids get theirs now. Better now like this than not at all like those other things. At some point, the omnivorous fires of inevitabilty will fall from the suffocating skies of perpetual eternality and destroy everything, true and untrue alike in equal total measure, after which, survival of the fittest takes back over as a creative force rather than a destructive one. Until then, peace, love, and bright moments, y'all. Bright moments.

And some of the kids were apparently orphaned, like the first Visitors album. That one made it over to Muse.

http://www.bbc.com/news/world-us-canada-22641179#TWEET765929

It's a very, very good company to do business with. Using the EDS shipping option has been for me the best shipping bang for buck value. On some things, though, I have found better prices at Dusty Groove. Only some, and only sometimes, but check first.

I've come to understand it as a Ghetto Max Roach album, and I say that with full love for Max, Shepp, and to the extent I know it, the ghetto((s), hello the ghettos of unshaven drunken and beaten country people in rent(semi)houses way off the road on somebody else's land, you're there too, if not on this record, don't sweat it, you have your records too)), faults and uglinesses of beauties inseparable from that beauty. Ugly Beauty, Oliver Nelson was a Winner, Cal Massey was a Loser, Abbey Lincoln was a Winner, Chinalin Sharp was a Loser. Members Don't Get Weary, the Race will be won, but for others, that's not a Starter's pistol, and really - who gives a damn For Losers?

Something about Don Schlitten & Joe Fields were married as Cobblestone at one time and got divorced pretty early on. Muse & Xanadu each got some of the kids.