JSngry

Can't move posts between thread, sorry. But a dedicated Tom Scott thread is totally an option. Go ahead on with it!

It's not Sonny Sharrock, but Colbert is not Space Ghost either.

Everybody loves a winner Even when he's thinner Goin' down like a clown Who gives a damn for losers? Everybody loves a winner Even when he's thinner Goin' down like a clown Who gives a damn for losers? When lipstick's ten cents a tube That's progress, man in motion Got my man's sweet lotion For my sunburned soul Blacker than brown, browner than beige And you can take that any way you like Just don't call me an all day sucker Mother's Day is over for losers. For losers. For Losers.

Those samples are over in markedly less time than it takes put on one shoe.

Yes it could have been (and thank you for implicitly getting the point of it in the first place. I know you've heard some jukeboxes,) Hell, let's finish the job and put the opening cut up here, then we'll have the whole album. and don't nobody say it sounds like the them to "Good Times", because that's reverse chronology. This one could have been recorded and mixed with more finesse as well, but still, and I speak from experience, when you but this record on the turntable and it opens with this...the point gets made about what THIS is gonna be about all the way through. Smiling Archie Shepp dressed in black, framed in black, surround(sound)ed by Black...who give a damn for losers?

If you're talking about "Abstract", I don't think so. That pocket's a lot closer to "Papa's Got A Brand New Bag" than it is to "Sidewinder". And Blue Note hardly did not use electric bass during that time, and no matter what the bass, they never mixed that upfront in the mix. That's a whole closer to an R&B bass mix than any jazz one (except some jazz 45s I have, but that's talking 45s, and that's talking jukebox mix, and that's a whole 'nother world). Interesting rhythm section on that cut as well - Dave Burrell on organ, Wally Richardson on guitar, Bob Bushnell on bass, and Bernard Purdie on drums. Burrell might seem an odd duck in there, but the other three, yeah, they knew what the object of the game was.

Yeah, so do I. Ballads, songs, wheelhouse!

Unbuttoned shirt is quirky.

uh....

Yeah, the respect I've had for Scott is his un-self-consciousness about the whole "jazz is just one of the things I do" thing...seems like he never felt guilty about it or needed to prove anything other than that he was a talented, very well-rounded multi-skilled musician and that jazz was always gonna be just one of the things that he did. What it lacks for in "art" it makes up for in honesty and self-realization. I'm also of the belief that Tom Cat was an artistic statement on its own merits, if by artistic statement you mean that a vision is realized with full success and in full voice.That record did that, I think, and if it's not a jazz favorite, hey, remember, jazz was always just one of the things that Tom Scott was gonna do.

Topis merged.

Yes I have that one, too - a very good album, IMO, perhaps more interesting from a certain point of view - how does he treat that material. His playing is very exuberant her. What puts Rural Still Life on top of my list is the added treat of Scott's own tunes, and his references to the current scene. Cool! It's a pretty obscure record. Wasn't sure if you had heard it, and if you like one, you should like the other, that kind of thing. I think most people aren't really aware of either of them, to be honest.

You don't hear the command of that raspy tone all over the horn, the altisssimo, the subtone, and how he was playing the changes on the ballads and owning the blues/funk declarations? He couldn't "play changes" for shit (and still usually sounds mechanically neutered when/if he does), but he could play songs very well. I don't hear anything here that is not in service to his vision of the song, and I hear the song very clearly. When a cat really can't play, it comes out in a lack of control between registers, inconsistent control over tone, fingers fumbling between notes, all that basic shit. What I hear in Shepp is a very focused delivery of some very specific ideas, of which "playing changes" in the bebop sense is not a priority. But on these ballads, he's following the changes, because he's into playing the song, working the melody. I can't hear it as being anything but that, really.. Now, sure, when he started playing straight-up bebop, that was awkwardly uncomfortably sadfunny, because he was so /NOT about connecting the eight notes in a linear and ongoing manner, he didn't really know how to do it and even after he learned how to do it, I always thought that he must have needed to do that for himself, because he sure didn't need to do it for me. He always reached me best as a "statement" player, a dramatist, and I really didn't care if he could play lines on Ornithology or not, plenty of other people can do that, not everybody could play "The Chased". etc.

Iron Man Hamilton finally forced to sit. Didn't see that one coming.

You've heard the Paint Your Wagon album on Flying Dutchman? Domanico & Guerin, but with Roger Kellaway instead, bringing the Kellaway eccentriics. You can indeed judge a book by it's cover, but it might not necessarily sound like it in the process.

I got a later version of Vista as a clean install on a new machine with no attempt to port old data or programs over to it, and I rode that thing like it was Secretariat for longer than I had any expectations for. No problems at all, none. But when it finally did crash, it was fatal. Now on 7, like it well enough, but honestly, I've had more stability issue with it than I ever had with Vista. From talking to people, it seemed like the key to Vista Success was getting it clean and/or getting it with a later SP. But all that came after The Nightmare was official, and who can blame that for happening? Nobody except Microsoft, that's who. Believe me, I ran XP long after it made any sense because of that nightmare. My son finally said, get over dad, it's working now, and...yeah, it was. But damn, should not have taken that long. I'll give this to Vista - it exceeded my expectations in both quality and duration and died the way I hope to - all at once and without warning. Not exactly tumescent for 10, definitely not in any hurry to buy a Mac, too lazy for Linux, so sticking with 7 until 10 comes 11, because 6 never did become 9, this is PC, not I Ching.

New River Gorge Bridge, Fayettesville, West Virginia. I have been both on top of and underneath it. You can still get to - and go across - the old bridge, and you should. You can also go down there and wade around in the river at some points, and you should do that as well. But be warned, the rocks are slippery as hell once your in there, and the river is not without a wee bit of current. Don't ask me how I know this, I just do. Somebody had to build this thing, right? That's never gonna be me.

Was this before or after NHOP became an old-time guy himself? Bass lines on ballads - Ron Carter on any Miles ballad, especially the standards. Especially. so much of the musicalgoodwill that Ron Carter has squandered over the years exists in no insignificant part becuase of those ballads.

I've got it, but haven't heard it in years. Recall really enjoying it, especially the duet with Oppens. I'm going to have a hard time ever listening to it again. I'll keep thinking that this guy went on and conducted Mozart as a part of his living and, Whhhhhhhheeeehhhh, the goes The New Trumpet Erection.

The cut after that one on the LP, this most beautiful of Cal Massey compositions (not fully revealed to me until as heard sung as by Joe Lee Wilson with Shepp on A Touch Of The Blues). A perfect end to Side 1 of an LP called For Losers that opens with two nastyass hardfunk grooves, then ends on two hardballad jams and then turns the side over to Everybody Loves A Winner, Especially When He's Thinner. Up and down, like a clown. Who gives a damn for losers? Getting or not getting the point was the whole point. Hello funkyjazzrecord that pretty ALMOST gets the bass level up to where it would otherwise be if not for jazz. I get the whole "Shepp eventually learned how to play"" thing, but...he could already play one vocabulary quite well. It was just a question of redirecting into a more specific grammar.

And I'd agree (that he has a point). Everybody has their points. I'd also add that such point has no relevance to my lifestyle and/or life whatsoever.

Side 2 features Nixon's 1962 concession speech mixed with comedy album audience effects running all the way through, and an Eisenhower speech mixed in (and under) some continuous really loud and lo-fi bowling alley noises. The JFK stuff on Side 1 sets sampled phrases from his speeches into song settings reminiscent of the parodies that would occur on The Smothers Brothers Comedy Hour a few years later. All in all, kinda "avant-garde" as far as mainstream label comedy records of the time go, especially the second side. The Ike thing is freakin' dark.

Italy, Tx

Anybody besides me and Chuck heard the record in the OP? That's what I was recommending, not the guy's conducting resume. Not miffed, just muffed.

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