JSngry

Ok, but this would have been the first color and sound cartoon, then, correct? Albeit with a more primitive system, 1930. I know next to nothing about this area, just enjoy watching, but apparently this Ub Iwerks guy who did Flip was working closely with Disney pretty early on, and left because he felt he wasn't getting his share of credit. These Flip things are pretty crazy stuff, really, and do very much have some of the characteristics of the early Disney work I've seen. I wonder if that's Roger Kellaway playing the piano on the opening?

It's a good record.

Or maybe he fed them less each so he could feed them all?

Best wishes, happiest of lives, and the sincerest thanks for understanding, or, at least tolerating, your husband's allowing this thing to continue.

More Flip The Frog...fire demons sucked up by vacuum cleaner underwear remover and a hothead horse that says "Damn", and so very much more, all in about six minutes. Who ever the percussionist is who played these things, they earned their pay, no doubt! And this, the first(?) color sound cartoon ever?!?!?!?!

Maybe he's talking about the cover photo, although if so, I might change drum to cymbal. Although otherwise, you gotta love any tangible period (probably?) documentation of Max Roach...bothering somebody.

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Alvin Simon Theodore

Yeah, that IASW box was a revelation for exactly that reason. There was all this other stuff making up that tune that you would have never even dreamed about. I nearly shit my pants the first time I heard it, some serious WTF????-isnmess going on with that for me. I wasn't there at the time (alive, yes, but not yet knowing), but I guess there was some "controversy" about Side 1 of IASW repeating itself for the second half, like it was heretical (or on a more pedestrian level, a ripoff) to do that. But hey, the difference between a "record" and a "performance" coming to the fore, not sjut a splice, but a freakin' manufactured recapitulation - on purpose! Teo, though/remember, had this whole other life as a "classical" composer/musician, and he knew about this stuff, this using the studio and tape as instrument from that scene, the early electronic/etc. scene. He was not flying blind, let's put it that way. A pretty interesting cat in his own right.

Dude - I have been on "jazz gigs" where the only way - the only way - you could tell who was the band and who wasn't was that the band was the people standing in the corner making all the noise that was pissing everybody else off. At some point, earlier on with some than with others, that becomes the band's fault for letting their "place" be established by their own indifference to establishing one. And yeah, at some point, it becomes that the audience is a bunch of boorish dumbasses. But hey, handle your own business first, and you handle yours better than they handle theirs, and funny how often that will work out to a draw or better. Never let them get the jump on you, ya' know? Because there's always going to be more of them than there are of you, and at some point, you gonna fuck around and lose to the inevitability of critical mass or some shit like that. That's not me, that's The Physics Of Life, On Display Regularly at a World Near You.

I guess it's inevitable and even proper that it's taking time for the difference to be considered, but "Miles' Music" & "Miles' Records" are, like, two circles of a Venn Diagram that maybe don't intersect nearly as "comfortably" as all the assumptions that have been poured into the "jazz paradigm" would allow for (in THAT perfect world, we would only enjoy records that were not records, they'd just be magical vessels of sound waves that showed up in our ears somehow), but hell, there it is anyway. I'm like, both are brilliant, and if this Bootleg Series will show anything as it continues to unfold, it will be that, yes, different, but/and yes, also brilliant. It's not like Teo was taking shit and turning it into steak, right? No, he was taking valuable metals and shaping them into jewelries. And really, progress was probably better served that way, because there was a lot of shit going on in those bands pretty damn rapidly and if everybody had waited for a "definitive" resolution of it all before recording it, no records would have gotten made, because the conclusions were often, usually, even, made after the fact, not during it. If that Fillmore band would have waited for all the internal decisions to be reached before making an "official" unedited "jazz record", it would have never have made one, period, because it wasn't until AFTER that band had ceased to exist that those in it reached their conclusions. And then you'd have another version of The Lost Quintet, which was a band that easily COULD have had that type of record if there wasn't so much other stuff going on in the studio, newer stuff still. So hey, Teo kept finding ways to tell Our Story So Far. Much love to him for that, much love.

Yes the ones who are most real to us. No masks, No games, No show If there are theatrics with some of them, it's only because it is part of them. Nothing manufactured. And the stories and the music are very real, very imperfect - especially with the great improvisors. True. Still, those jeans in the Malaby video look like he just rolled out of bed after sleeping in them, as does the shirt, really. Attention to personal appearance and "theatrics" are the same only in the sense that walking and being a drum major are the same. Also true. So, let's not attempt to deflect the multiple truths by changing the single subjects!

Not sure what movie this is from, but it springs to mind from time to time. Not sure if it was James Coburn or Richard Roundtree...might have been somebody else, Pauil Newman, maybe? Hell, lots of people have said lots of things in lots of movies.

Yes, we do have an attraction to character(s), don't we. I know I do. It's basic human nature.

Teo was a genius in his own right, in his own way, and Miles gave him the right-of-way to apply it. Those assemblages of his stand consideration apart from the music itself, especially On The Corner, which is like, the more you hear the loops and splices, the more HOLY SHIT it becomes.

I looked at that the other day. He's either very courageous or very naive to talk that frankly/guilelesly about something that is still used as ammunition in this world.

His looks have nothing to do with his playing, duh. That was not the conversation. And hello, Roscoe. Although the jacket and the tie are as neat as hell, they are not the point, the point is that the man looks sharp as hell wearing them, and that is not accidental. Even the neck strap looks sharp. People, players in particular, think that it's enough to show up and play well, and if you're playing for blind people and/or for people who themselves don't understand (even/especially subliminally) the impact of the visual (theatrical or instinctive), ok, but that is not most people, including smart ones, especially really smart ones. And consider this - in "show business", the business is "show", which is only partially (and depending on realm inhabited, potentially minimally) about "the show" as it is how and what you show. And as big a fan as I am of all things syne(s)thesiacal, showing is still a primarily visual sensation. It's already been noted, Malaby's flapping arms, right? Visual trademark, like it or not, to hear it told here. So people do look, and people do see. Therefore it behooves those who are providing that which is being looked at and seen to work that to their advantage, if they want a return from showing up to be anything other than showing up before going home. It's simply another sign of not being phobic about having a willingness to engage your audience. You gonna be somebody, wear it, and wear it well. How is you business, but if should not even be a consideration for any reality-based adult.

In or out of office? Otherwise I'd say The Gipper. The answer is Herbert Hoover. https://www.google.com/search?q=What+president+spoke+to+his+wife+in+Mandarin+Chinese+when+they+didn%27t+want+those+in+the+room+to+understand+them%3F&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a&channel=rcs

AFAIC, Roscoe Mitchell sets the bar for today's performer.

Oh, it's not about what you wear as it is about how it comes together. You might think I'm playing, and at one level I am, but then again - look at the cats with strong identities - they all have some kind of a "look" that they pull off, they don't come to a gig looking like they were unwinding at the crib with a six-pack and oh shit, I forgot you guys were coming over tonight, let me get my horn, ok, sorry. I mean, you can do that look, but the components have to be A - of a certain quality & B - put together with a good eye to detail. A t-shit and jeans will they look right if they come together and present an image, but if they look like you're taking a break from playing video games all day, hey, that's not a look, that's a Random Act Of Civilianism. I laugh at people who wonder why they're invisible when they dress they don't want to be seen. At some point, you have to accept responsibility for the light waves coming off yourself. Posture comes into it as well, body language, carriage, etc., maybe even more than dress. I learned that a long time ago because I suck at it both congenitally and instinctually. But it's real, it's a basic form of sub-conscious conveyance of information to others, and pretending it doesn't matter will only give a person a sense of self-granted justification, not any real-world relief. The whole thing about "people see with their eyes" has, like most basic truths about our hard-wired selves, has been distorted into a thing where oh, I refuse to project a look because that's for SHOW BUSINESS and other Untalented Types. Yeah, well, ok, so it is, but it's also still hard-wired into our brains to process all information through all our senses. So don't take that and turn it into the falsehood that all that matters is how you play, because, yes, that will be all that matters in the music, but in order to be heard, that's where the business comes in and then, you can't go swimming in a rock, ok? And you can't break a river with a pickaxe. The idea that you should even try to is silly, just downright silly, and the notion that you should be able to, and if you try and fail it's not your fault for being fundamentally wrong about your premise is simply ruinous.

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Joe Lovano's a fat guy too (hell, I'm a fat guy), but he dresses well (enough), and gets gigs aplenty. "Music business" is two words, "music" and ""business". On any given night, I'd prefer to hear Malaby over Lovano. But how much the cover would be and how many people I'd be sharing the room with, that's business. But really, under any condition, wearing a regular-tail shirt untucked conveys the look of "I wasn't expecting company".

Flip The Frog cartoons on some PD Roku channel. Damn, these things are pretty spritely, how they remained so unknown, I don;t know.

Another thing was that that whole "bag" to me seemed to be used as an excuse by too many people who couldn't swing as an excuse for not needing to. Of course, the guys in Oregon could swing, did swing, and by swing, I don't mean in any one way, just as a fact of life. But the excuse-makers, I always felt that they used it in a very cultural-specific way, as a way of excusing their, excuse my french, "whiteness" instead of embracing it. And I, wrongly, projected that attitude back on to Oregon, because at the time, a lot of people who were getting "inspired" by them seemed to be nervous about taking showers in an integrated locker room, if you understand the implications of what I'm attempting to try to say, but would never admit to it, because that would be backwards thinking, like nobody would come right out and say that not having a large fat penis makea them want to create a world where they didn't have to worry about that. Again, though, this is all the dorks who tried to ride the coattails. Oregon themselves, pretty much dealt straight, but you know how it is, you hang around with a big bunch of farters and it turns you off on beans, and that's just wrong, wrong and tragic alike.,