JSngry

J.B. Williams An Aqua-Velva Man Maria Effertz Hanson http://velvand.com/

I can't tell what your point is other than that some musics are harder to execute by some peoples than other musics by some others. With this, I agree, 100%. Waffle House, otoh, can get pretty difficult, especially on Saturday nights. I think, if I had a choice, I might prefer performing open-heart surgery. I would probably have more control over directing a desired outcome. So, I guess we're in at least 50% agreement. Hugs!

Brenda picked up on this over the weekend and binge-watched it through. What I saw of it has me thinking I will follow suit. Looks to be a well-told/acted tale and fully subtitled. Plus the main character always has good hair, and everybody drives nice cars. I'm envious. Anyway, do any of our Euro-viewers have experience with this show, and if so, what are your opinions? Not knowing Belgium all that well, does it resonate as turhful(ish)? And are the actors as good as they seem to be to somebody who's relying entirely on subtitles?

Well, that's a well-reasoned logic-based objective response. Not very complex, though.

Here are three tracks to be going on with! https://www.youtube.com/watch?v=J1lpVguArUQ https://www.youtube.com/watch?v=d9ILMmDB0kI https://www.youtube.com/watch?v=059cD0TqT7E And one more!

"...a hell of a lot more complex, and emotionally and intellectually engaging..." What units of measurement are we using to determine this? Is there some objective scale based on quantifiable determinations? I sure hope so, because then we can weed out all the deficients among us, or at least send them to trade school where they can make the best of what they've got. After all, those who cannot and/or will not be engaged with what is provably more engaging, hey, let's know whose burdens we will gladly suffer and proceed accordingly, joyfully and dutifully. I could almost cede "more complex", but there are so many ways to be complex, including being simple...and it seems like there's always people who talk about well, that's really complex, but it has no meaning to me, there's nothing there I can feel, so, what are we talking about here other than personal resonances/satisfactions? Of such things a common culture of no small reward can be built, but also can be constructed some really idiotic simplistic assumptions that lead to self-glorifying stupidity. It can go either way, it can. Appreciation in the service of aggrandizement is no appreciation at all.

"Red Top" was the radio hit around here, but "How Insensitive" is the one that really crawled inside my head. Dexter on soprano (and basicall as role player on his own album) made an impression of meaningful difference. Yes - Slide Hampton, arranger.

I don't know, I just think that the idea that "movement" = "progress" ="good" is presumptive of movement for movement;s sake being a desired quality, and I don't think it is, not really. I mean, I'd rather hang out with one person who deeply understands some music that I hate rather than with 50 people who "like" most of the things I do yet can't say anything beyond the most superficial drivel about any of it. It's just a variant on the collecting game, are you collecting to have the objects or to get the meaning? Some people collect "experiences" and don't learn a damn thing from them except how to have more of them. Broad as hell, sure, but equally shallow everywhere. Progress? I suppose there is "progression"?Maybe, but good? That's just a word.

Eric Dolphy, Money Jungle, Last Poets, hey. RIP.

I think Shirley Horn & Jimmy Scott had the slowest tempos.That stuff was magic, and I bet they took it with them.

Who will do the really slow tempos now?

http://shellackophile.blogspot.com/2014/05/birth-and-evolution-of-trademark.html Lots of pictures!

Hit men not sent by CBS....the legendary advances Miles always got from CBS supposedly went to paying coke debts to Bumpy Johnson and then others..or something like that. Or so it's been said, I still don't know how much if any to believe, but it's not entirely implausible, imo, not at all.

Yes, I'm working through his albums currently - very enjoyable. You probably know this, but he's married to Monday Michiru. Hell, that's been her recording band (with additions/subtractions/diversions) for the last while or so. But she writes better/more interesting songs than they do/play.

I found Joe Chambers' comments to be consistently illuminating, perhaps especially his "equating" of Giuffre's music with Andrew Hill's.

Oh, just now looking through the book - the photo with "band wives" Carla & Juanita is priceless.

First impression is that the trio portion is certainly good but more of a "collector" interest, whereas the quartet side is about as good as you'd want/expect it to be, perhaps even better. That quartet is together. It might prove to be interesting to contrast/compare this music to Bley's Turning Point session w/John Gilmore, as well as with Don Friedman's Metamorphosis, not in terms of "style" or "quality", but just in terms of what ideas were being passed around by who, and maybe how, all in the space of about, what, a year or so? And what other documentation might exist to fill out that still somewhat sketchy "thing" more fully (sketchy, that is, relative to other things).

Not a "fan" per se, but it's a fine band and the albums of theirs that I've heard have had a little something "extra" that bands of this "type" usually don't (at least for me). Pentasonic is a good one too. I find that where you find Kikoski, you find that little something "extra" in contexts where it's often not found. He seems to be able to bring it no matter what.

And not just "white people", really, just..."jazz people". I mean, everybody hated Disco and then people barfed at house and good god no PLEASE don't let my babies hear a drum machine and A TURNTABLE IS NOT A MUSICAL INSTRUMENT and all that, but...that's where the "groove" went, that's where the technology went, that's where "modern life" went, so...it ain't my world, ya' know, but I'll not bother to pretend that it is so's I can pick your pocket and/or win your moral approval, right? I might "do that", but not for those reasons, and it won't sound like that, because the only way to really sound like that is to BE that, and...do the math, right? But I do love me some of that stuff, I really do. But love don't make it real, much less possible, it just makes it imaginable. Reality, that's a whole 'nother paradigm. Old folks think they like to know what it is to be young, and they do, but they don't know what it's like to be young NOW, just like our folks did know that and yet didn't know THAT. Shit stays the same, etc. But who got all the money? The freakin' Boomers (some, not all, but why run a good rant with facts?), that's who, and like all aging peoples with all the moneys and twice the vanity, they using it to buy all the whores they can to avoid moving it on and passing it on. It is not death with honor, is surely is not.

I don't know how much credence to give it, but I've heard a handful of peoples who I generally trust say that what at least drove Miles into retirement was actually a need to hide out from hits put on him for unpaid drug debts. What kept him there... Whole story, I don't know, wouldn't even begin to guess. But "gangster movie" being as close to the reality as anything else...not gonna rule that out either.

Just get Gene Perez to lay down the bass. Then you can do whatever else you want. But "groove" music that doesn't have as much as half a clue as to what that really means (and these days it means drum machines, samples, digital uber-precision in timings, editing as much by what a waveform looks like as by what it sounds like), it's like those Glenn Miller bands you'd see in 19912 that were full of 20 year olds, they played it just fine (I guess) but they didn't get it. Not that they should have, or especially could have. The whole notion is kinda perverse, really, that old people dig young people lapping up their stuff, or that young people at heart want old people to do anything else other than represent with pride and dignity and then get the fuck outta the way, in that order if possible, but if not, then not. That's it's not like that so much these days is why so many grownass kids live at home and don't worry about it (and plenty them pups DO get snarky about it). We are in a digital mind now and we ain't going back. Pennsylvania 6-5 OH OH. Oh. But as I was saying, get Gene Perez to lay down your bass track, and then, me myself, I don't give any kind of fuck what else is going on. YMMV.

Because That's what Ernie Henry was supposed to do.

Also - the first season did not have Vee. Vee changes everything about this show, imo. Everything.

Yeah, the first season didn't start really working for me until it was more than half over. Second goes there from jump. Or so it struck me. It's like anything else, you get out of it what you want to. But I found they set up enough there to be found without me having to strain too hard to find it, so, better than defecating a cheap pizza in that regard.There's always that. Personal admission, I liked Weeds well enough, but ultimately didn't feel rewarded by it. Above-average and quirky (or "quirky"), but didn't rivet me. Very good surface, but not much depth. Then again, it was weed, so maybe that's accurate relative to proportion, or whatever they say in Laguna Beach (if that is really such a place). Those other things, I don't know about. Hate Pooh on principal (thanks again, Disney) and can't handle all those gaudy loudass cable-comedies like Californication. Just not for me. They're writing songs of love, no doubt, all of them, but not for me.