JSngry

Parallels my experience. Bought my daughter two Dell Inspirons, first one nothing but heartaches, they actually/finally replaced it with a newer model, which has survived if not thrived for about 5 years now. OTOH, got a work-provided Latitude two years ago that has been a freakin' hoss, in spite of all the company-pushed security upgrades that attempt to defy Windows gravity. Apart from that, this thing does not bog down for anything, ever. The HP they gave me previously, you could swat that thing down like a drunk mosquito, although perhaps not incidentally, the old one was still limping along with SP and the new one came with a fresh (and presumably "customized") install of 7. Also about Dell, the phone service, which I've not had to avail myslef of for a long time, went from great to horrible, but they always honored their next-day service agreement, and the guys who showed up were consistently badass. Consistently. Keep telling myself I'm going to get a tablet when this desktop finally quits, but I don't think I'm ready to be that modern, at least not while I'm alive.

"PULAR"...is that even a word, or should I put my glasses on? Now seeing "URLO"...isn't that the guy who played with Chet Baker?

Only if it's holding a bass.

PM sent.

Oh, now we're talking about how things sound to a listener "sounds unsure" vs what is actually, provably there (math correct d/n = unsure). You want me to move this to the Audio Forum?

Can you produce a body?

If the end user hears slog but not math, yet the math is provably there, you gotta wonder why that is. Follow the bass player and see where Brubeck lands when he comes out of wherever he's gone off into his further subdivisions (and note that even when playing triplets all the way through, different meters can still "happen" by shifting the accents within the flow). And even hen's he's off into there, listen to him relative to where he started and where he ends. I don't care if you "like" it or not. I'm not really "thrilled" by it myself, I seldom am "thrilled" by a Brubeck solo. But note that we've already gone from it sounding like he's "unsure" to it now just not being terribly esthetically pleasing (like when is that ever NOT gonna a question about Brubeck's playing?). Where next on the Parade Of Homes, Holmes?

Well, you can't do math like that if you're not sure of it. Shit's metronomic within itself like all fuck. Brubeck was always metronomic as fuck, that was his thing. Mean that as neither praise or dismissal, it just is what it is. Warne Marsh would do math like that too, but he was quiet about it. Nothing quiet about Brubeck! Hell, the whole Plugged Nickel thing is built off of subdivided subdivisions of subdivisions. But that was a different flavor. Same math, though, just different flavor.

He might be dead. I've seen no indicators to the contrary. Are you dead, Al?

Ok, at the 11:00 mark, I hear him starting from a quarter note triplet feel over the walking 4 and then superimposing over that, sometimes in what initially feels like 5-over-3-over-4, adding/subtracting along the way as he sees fit to make everything land right.. Not sure about that, and not going to get into it now to that level. But the math is right, definitely right, Can't say that I've ever heard Brubeck's math not be right, even when any number of other things might leave you wanting, his math never did, he always lands right, and you can reverse-engineer everything back, he's good like that.

Hmmm...didn't hear it like that, just heard more of Brubeck's long-used polymetrics. Although I guess he was getting old by the time of that date, maybe I was just compensating out of expectations. But basically, he's always done that, played one meter over another, even one tempo over the other. What would be fun/"fun" would be when neither him nor Morello were playing the original time. Gene Wright had some solid time to hold that shit together, believe me.

Waht is it about the Civil War that turns everybody into simpering blobs of emo? George Crumb, maybe less so.

Then there was her Jackie McLean interview. What happened there?

I had oatmeal for breakfast yesterday...but it didn't sound like Brubeck. Something wrong with my microwave?

I think I remember saying somewhere he got tired of playing bebop, didn't really feel the avant- thing, and had a genuine liking for pop-sounds. I don't fault him for that, although I do think he trapped himself into a formula sooner than he needed to, although, it's his money, not mine. But considering how open and interesting a lot of pop was in the late-60s/early 70s, I'd not rule out his interest being creative/financial in a tighter ratio than might be cynically ascribed.

Oatmeal?

Joe Henderson too...if Joe didn't record for Milestone when he did, who would he have recorded for? And Galaxy, Art Pepper (although that might have been just a "folding in" from Contemporary?), and Johnny Griffin, and Red Garland coming back, all had product on a family of labels with established distribution and promotional channels. Note though, that Landmark really had none of that, and succeeded accordingly. FWIW.

You want to make a meaningful cultural reparation, you don't do it by keeping the plate the same size as it was before and clearing some perfectly good food off of it. You do it by getting a bigger plate and putting some MORE good food on it. Plate's not big enough, well boo-hoo, put it on a table, then, build it out, not tear it down. If the American cultural palate was as absorptional as its culinary palate, we would not be having this discussion, at least not like this. Y'ALL GO EAT!

It means another White Guy still figuring shit out thinking that he's one of the random few who already has figured it out. Been there, done that, I'm still here, so is everything else, everybody else. The only thing not so musch here anymore is the dogma, I think my karma ran over it.

Uh, no....what you said was Two completely different things there, can you not see that? And as questionable the perspicacity of the original comment, dealing as it does with one aspect of a music that has never had 100% clearly defined parameters (until you kids saw the light), now you're dealing with the whole fucking world, and do you know how many drums/drummers/drummings that takes in? So ok, Lowell Thomas, you tell me - who has been The Greatest Drummer In The World - and give me an informed opinion based on the finer points of all the known drumming tradtitions all over the fucking world. Don't have that wide a reference, so you're going to default to what you know? What are you, Xenophobic or some shit? Truthfully, I have no ongoing awareness of Buddy Rich being referred to as The Greatest Jazz Drummer In The World. I don't think that he himself would stand for that, his deep love for Jo Jones & Sid Catlett being on record. If you wanted to find the humility in Buddy Rich, that seems to have been where to aim. So that leaves us with Greatest Drummer In the World...and that's showbiz, baby, and showbiz is what it is - a means to sell people more of what they already want. On that count, Buddy succeeded tremendously. Problem, officer? Anybody - anybody - who is truly objective (i.e. serious, not full bore emo) about Buddy Rich will have at least as many reservations as they do feelings of awe, or at lest respect. And expecting "the public" to ever be anything other than The Public is a fool's game. Sorry, sloppy writing, sloppy thinking, sloppy strategy, just poor work in general. Nobody bats 1.000, except for that one kid, I forget his name. Larry knows. Again, atone for it by getting to Bruno Carr..

I'm yawning already. And Etan, I see nothing in your comments to indicate to me that you have any real frame of reference for the deep roots and backstories of big band musics outside of records and "stage bands". As for the race thing, there's always been a Gordon Goodwin and there's always been white high school kids. Take your own advice and Do The Math, If you think that lobbing an emo bomb into the Buddy Rich Cult is going to reverse the polarity of that equation,...good luck on that one.

I don't hate OP, I just don't like him all that much, but I rather enjoy a general handing out of "fuck ____" as a gesture of conviviality in the face of irreparable conjugationals, so feel free to add me in there too, and make a donation in my name to the charity of your mutual choice, and tell 'em Bob's you uncle, because I had two, so one for me, one to that good charity. I'll tell you who I might be persuaded to muster up some good old-school Jazz Hate for, and that's that Richie Cole guy. but I gather he's been ill or something for a while, so that makes it a bit hard, since I am nothing else if not a paragon of milky and motley human compassion and all that, not a hater, just a waiter, in god we trust, all others pay cash.

I'd offer the suggestion (just to kick around, to to advocate for) that as important as Riverside was in its time, Milestone (and Galaxy) might have eventually been more important in its, fully stipulating that they were completely different times and that "importance" doesn't mean any one thing, really. Or not, maybe.But a lot of chapters in a lot of careers exist because of that label, and I wonder what those chapters would have looked like otherwise (or in the case of Sonny Rollins, would they have existed at all, which I know to some would have been the preferable outcome, all things considered?)? Regarding Grauer, I have no bone to hunt in either dog here, but what part of the "yes, beautiful soulful cat, unlike Keepnews, but, also unlike Keepnews, was pretty much responsible for the demise of Riverside by irresponsible financial practices" picture am I not getting right?

Which raises the ethical/existential question what is the bigger evil, to have something to be used and have it not used at all, or to have that thing used but unfairly and/or exploitative? Don't ask me, i don't know.