JSngry

I can think of no higher calling in life than to impose my desires on externally creative people.

Still trying to get a grip on who #4 might be...I keep wanting it to be Harold Vick, but it's not.

Never had lutefisk, how is it?

Internet radio might have to do the same thing these days...I use this one a fair amount: http://www.live365.com/stations/20classics I have it on my Roku, and what I really like is that there's a feature there that will email me the track info of any given thing that they're playing. So if I hear something that sounds like something I want to get more into, I just hit that button, and then at some point, check the email, do the research, and then, if desired, go shopping, all from the same chair. Putting in another plug for this station and the email track info feature. Have discovered significantly more genuinely new music/composers/performers of interest in any idiom this year through this channel than anywhere else. The whole setup seems perfect to me, there's no interruption/impediment from initial exposure to final purchase (other than the occasional incident where a recording will be either totally OOP and or prohibitively expensive...but it's usually the other way around, used copies on amazon for very, very little money). Kudos to whoever is programming this thing, very little repetition, and very little fluff, and kudos to Live365 for their concept.

My mom fixed a goose one year at my dad's request (I guess it was what his mom always fixed), and I remember it being very tasty, but also the greasiest damn thing ever...you could have gone swimming in the pools of grease that thing gave of. My wife will fix a duck on occasion, and that's all the grease out of one fowl she'll accept. I ask her to cook a goose just once, and she says you fix it, so....no goose for me. I guess what's good for the goose is not good for the gander? Traditionally, our family had both turkey and ham. I'm not too hung up about having turkey, though, so we've dropped it for Christmas. Ham too, this year. The last few years, we've been having beef tenderloin for the main meal, and sometimes duck on Christmas Eve, if we feel like doing all that work, and yes, by "we", I mean my wife. I do like ham though, but always, and not just at Christmas.

John Cage/Joan La Barbara - Singing Through -- Vocal Composations By John Cage Morton Feldman - Three Voices For Joan La Barbara Jimi Tenor & Abdissa Assefa - Itetu Arthur Prysock - Fly My Love Eric Salzman - Nude Paper Sermon Sonny Stitt - Deuces Wild Dick Van Dyke - Songs I Like By Dick Van Dyke

Wow...going to read that book..whole other world...

Interesting, thanks. And not just the recreation, the original creation, or any earlier choreography...did they Mingus it, and was there a Booker Ervin handy if so? Part of the music ed degree was taking a class in marching band routine creation. Had to buy marching score paper and learn the notation system for it. Don't know if that's still in use now or not...marching band routines have gotten so damn abstract and asymmetrical now...but could still be graphed on that paper, maybe with different notation? Is marching a form of dance?

The Joffrey performance looks to have been copped from Czech Public TV: https://www.youtube.com/watch?v=RykK0_ABgmQ Not sure about what, if anything.

Wilbur Wood Knuckles O'Toole Bill Doggett

The Insect Trust Bugz In The Attic The Toys

Started life as a tenor player, correct?

Let me put it this way...I once saw Mudcat Grant's trio open before a Cardinal game (quite accidental, all of it). Don't really remember it with any detail, but all things being equal (meaning no Lionel Hampton), I'd much rather go back in time to that Cardinal game to hear Mudcat than I would click on those links to hear this 45's samples. OTOH, all things are not equal, there IS Lionel Hampton, just as there is no publicly available time machine. "Take it, Hamp" b/w "Take It, Hamp".

My copy finally arrived...my gracious, this is some...weighty (indeed) music. I pray that I will someday be able phrase almost as effectively and efficiently (combined) as Henry Threadgill, not just in music, but in life, period. The more space you leave, the more significant what you finally do play needs to be, or else you're just going to sound out of the zone instead of in it. Smith, yes, he does this too, but Threadgill, in my hearing, is damn near...violent in his silences and their eventual breakings. Not necessarily violent as in malevolent, just...violent like a shock that you know is coming, just not when, and the more you know its coming, eventually, the less ready you are when it actually does. Seems like Jack is conspicuously returning to his Chicago/AACM roots as of late. Very glad that he is, but is there any specific motivation at play here? A superb record, flawlessly recorded to boot. Where TF is effective American distribution?

The Everly Brothers Andy Williams Alan Funt

Clyde McCoy Stanley Turrentine The McGuire Sisters

How is choreography notated/scored/whatever..or is there any formal system for so doing? This thing reminds me to remind myself to remember that the next time some glib buisiness seducer plays the line "hey, people hear with their eyes", it's a wonderfully grand truth that they are corrupting, not a clever lie that they are attempting to create into sustainment. I mean, shit, there are spots when you can hear the footsteps...is there a more primal percussion instrument than the human body?

Meeting this criterion, and only this criterion - the cut "Mr. Smoke" from Pat Williams' Capitol album Threshold, the soloist is Tom Scott. It benefits greatly from an opening passage that may or may not be scored/predetermined/whatever, but whatever, the effect is to move the arrangement along out of an ensemble passage into the solo spot in a most definite way, and then carry that new energy through to the arrangement's conclusion, dropping it off as perfectly as it picked it up.. Other than that, Pat Williams was a master at whatever it was he was doing then (if you only remember watching TV from the 80s on, you can be forgiven for thinking of it as "TV music", just like 20s jazz is "cartoon music" - understandable association, but an after the fact conclusion, not an correct chronological truth), and Tom Scott, on this solo, is in the same zone, improvising. I consider this a "great solo" because it serves the music at hand perfectly, and does so wholly from within. Whatever "weight" it may or may not have ultimately, that's another issue. But - if it's going to be the last solo of the last cut on an ambitious record (and "ambitious" means a lot of different things), then you'd want it to be a great solo, one that brings it all home triumphantly, and this one, in that sense, is.

whoa...

Wow, never recorded, ever? How does that happen/not happen? I've heard suggestions that the "riot" at the premier was at least as much based in outrage at the choreography as at the music. Sure would like to see the whole thing in the context of the "full" work.

Anybody got a good recommendation for a DVD of this actually being danced? Have reached a momentary saturation point of just hearing it, would now like to see what it was written to accompany.

Not sure of his personal chronology, but Lucky had one of the most unique sounds on the instrument ever, totally devoid of metal and reed both, just pure voice. Nothing but beautiful. Those Groove Merchant sides...lost gems, I think. His tenor sound was like that too, but the smaller instrument means less room for casual variance, and geez, Lucky Thompson on soprano...no other sound like it.

So, is it just the one session that's of "questionable" audio quality?

Thanks to all who have listened. There will be more things coming, will post here when they're up. Hope that they will be of interest. As for what to call it, the overall group direction...temporarily going with Compositional Improvisations From The Aftermath Of Jazz...that's about as accurate, geeky, and non-narrative-setting as I can get, especially with the geeky part. But...it is accurate. Looking to improvise, always, but also, always, looking for the composition. Also, a reminder that everything is - and will be - downloadable, free. Help yourself to what you want, guilt-free. I did the math and if we're going to make any money at all off of this band (unlikely), it's going to be from playing live. And if we're not going to make any money (hello, cashing the reality check), hell, we all got cell phones, right? If we got nothing else, we got cell phones. This is also keeping with the improvisational element - not looking for "permanent" versions of these works (can't stress that enough), simply looking to keep the dissemination of this music fluid, relevant, local in origin, and universal-ish in availability. Again, we all got cell phones. Not saying that we don't want to make money from this music, if that opportunity comes into focus, hell yeah, we'll make that money. But right now, this is the model. Might stay that way forever, might not. But the goal is - and will always be - to keep making the music as long as it's there and to keep having it heard for as long as it's being made. Ok, thanks again. Somebody's at the door.