JSngry

Saw footage on the news...have seen serious tornado damage down here as well as OOOOHHH SCARY TORNADO that's like, ok, hey, weather happens, and this looks like the real deal. When it comes to tornadoes, the real deal sucks. Hope that all are well.

The Price You Got To Pay To Be Free is totally schizo, and in the best possible way. There's more than a little stuff on there that backs up Zawinul's boast that Cannonball's band was playing hipper material live during that time than was Miles. And there's more than a little stuff on there that doesn't...but perhaps that's the price you got to pay to be free. As for the Zodiac stuff, the Walter Booker/Roy McCurdy hookup remains one of the greatest in the history of the world (not just in music),and not even Rick Holmes is gonna step on that! and w/o Rick Holmes... Works for me. Booker/McCurdy FTW.

Universal is doing some similar sets, but it seems they all come out of Italy (and they include Concord/Fantasy material, as Universal is their distributor in Euorope). Oh well now! That means you could have a set covering Cannonball uninterrupted from first Capitol to last Fantasy, and...people who find the Herbie Columbia run maddeningly inconsistent because the only single answer to it all is that there is no single answer to it all would be sent running and screaming to the nearest asylum with a one-way ticket in hand by that thing.

And ok, also, this - WTF is THIS? As in, Al Jackson was a figment of the imagination? The new original research has uncovered proof that "Al Jackson" was the name that Bernard Purdie used when he wasn't going by "Ringo Starr"? Or what, exactly, that Al Jackson wasn't there and that the MGs were not 50/50 black/white, but in factt 2/3 white/black? That Al Jackson was not pretty much the backbone of all things Memphis, Stax/Hi/EVERYTHING, and that it was his murder (still unsolved) that put the final damper on that entire scene, a spirit who could be occasionally/reasonably imitated while present but not to be replaced once gone? I'm sorry, but WHAT? This may very well be a fine book, but this WSJ review is pretty much predisposing me to call bullshit on the whole affair. I'll need conclusive convincing to the contrary before proceeding otherwise.

Wow, that's a lot of albums...almost all of which have something of merit to offer (I remember Monster as being pretty much altogether worthless, and the techno-albums wearing out most of their welcome after, at best two times through), and a few, such as Mr. Hands & Village Life, being near-masterpieces that kinda got lost in whatever shuffles were going on at the time. Nothing there that I don't already have in some (adequate enough) form or fashion, but if a person doesn't know most/any of this music, doesn't insist on expecting it do be something it's not even thinking about trying to be, and can put up with the fails in the service of getting to the successes, it seems to be a good investment, really. At the right price, of course! Now - when does somebody do the same thing with Cannonball's Capitol output? That's a similarly sprawlingly chameleonic collective body of work that also has a good number of buried gems.

Eddie Watkins on bass, that justifies it. The shifty-geeky cadences make if fun, but Essie Watkins on bass justifies it. OTOH - this needs no justification at all, since being delightful is its own justification! Just wondering, is the Kimiko Kasai album included, since IIRC, it's for all intents and purposes a Herbie album with Kimiko out in front.

I'm afraid I have a rather serious problem with this: I'm hopefully sure that Mr. Gordon is a fine gentleman of musical historianism, but this review reads and sounds like this never existed: Well, it does, and I have not only read it with much lasting gratification, but also found it to present a totally different arc than the one implied by the WSJ review. (for one (main) thing, the Atlantic screwing and the death of Otis was far - FAR - from the death knell for Stax, or even the beginning of the end. Al Bell hustled his ass off and put together a FANTASTIC rebound, lesser people WOULD have been killed, but Stax was NOT!!!! Also, Bowman goes into a fair amount of specificity towards the role that Union Planter's Bank played in, if not exactly engineering, at least facilitating - or at the very least not at all being disposed to averting - the Chapter 11)), so either this review is careless or Mr. Gordon's book is, or both. Either way - based on this review, I'm distrustful of this new book and haven't even read it. I would be open to malleability if someone who has (or will) read both can do a legitimate Contrast and Compare, but until then, Mr. Gordon's book is projected as having the whiff of Romanticism, which is all well and good, but Mr. Bowman's book has the funky odorousness of Reality, and that is the scent which prefers itself to me. And anybody who is interested in this area who has not yet read Soulsville USA should take the very first opportunity - as in ASAP RIGHT NOW - to do so.

Oh but now wait now wait, wait now, just wait - being a still-living willfully reclusive withdrawer from what it is that is being cult-figured about only enhances the cult-figuring appeal. Remember - this is about us, not about him. He got what he wanted, now it's our turn. If he wants otherwise for us, he can step out of the shadows, in which case, hey, NEW record, or at least YouTube video. Otherwise, onward, and even then, still so. The is the Mobius Strip Of Inevitability here, once started, never ending, until end reached and then, forever more, It Happened. 21st Century, people, 21st Century.

Damn straight!

The only problem is that somebody has yet to create a Tyrone Washington Pop Culture Cult Figure Following Internet Buzz. The days of Product creating Audience are over (or at least on vacation), so what you gotta do in these days is for Audience to create Product. So, hey, Hipsters get busy - this is your next project, this guy who was In And Of Another World and Who Forsook Mainstream Succcess For Community Outreach And Finally Pure Religion, ALL WHILE STAYING RIGHT IN NEW YORK CITY, THE CENTER OF THE WORLD OF JAZZ AND EVERYTHING, he just disappeared right in front of everybody right where they were and they didn't not even bother to look, so hey Tyrone Washington, THIS is The Guy You Gotta Check Out, Because This Is Some Crazyass Shit, Brah! Get it all onlined and Tweetered and Facialbooked and Instacrammed and all that buzzy stuff where everybody can know about something that nobody knows about. And then, WHOAH, YEAH, Tyrone Washington, Wow, How Did We Not Know About THIS For So Long, Yet ANOTHER Case Of Evil Music Industry Neglect And Societal Indifference. ANOTHER One. Let that all stew and simmer for just right, and then THAT'S when you can talk to somebody about, hey, Tyrone Washington's got a Cult Folllowing these days, look at all this, and then THAT'S when somebody might say, well, hmmm...well, yes, this might be an OPPORTUNITY, and then hey, care diem, and all that.

Charles Lloyd's said to have taken his flush of income from the Dream Weaver/Forest Flower years & invested in California real estate, which resulted in him becoming a millionaire in not to much time and having the ability to work when and how he wanted even to this day. Although many "jazz musicians" never really made/make any money, some have/do, so then it's a question of what do/did they do with it, same as anybody else who has some money to do something with.

I thought the Beatles killed jazz. Now come to find out it was Anthony Braxton who killed jazz. all we know for sure is that Art Blakey killed Charlie Parker. So, like, look no further.

You don't have to make all that much of a whole lot of money to invest it wisely over the years and then end up with a whole lot of money.

Damn dude...stay strong, and best wishes. And yes, don't forget.

fixxinna turn cold

Here's a heartwarming tale about what a dedicated musician has to put up with just to make a living in an unappreciative world that always wants something for nothing... Musician's Wife: Honey, can't you at least do a little work for a temp agency, you know, to bring is a little extra money. The bills are all overdue, the kids' cloths are all ragged, their shoes don't fit, and there's really no food for them except what people bring over. And I think I might have the flu...and us with no insurance. Couldn't you work just a few hours a day, SOMETHING to help out? MUSICIAN: Hey, you're starting to sound like my ex-wife! Musician's Wife: Oh, dear. I didn't know that you were married before you met me. MUSICIAN: I wasn't.

gone. sad. very. loss.

Streakers Strikers Strokers

What's being said is that Shepp was never a musical/formalist extender like Taylor nearly as much as he was a re-molder of traditional/vernacular vocabulary. The only difference between him playing changes and not is where he puts the notes. Everything else pretty much stays the same. So, your question as initially asked is perhaps not as on-point as it could be. But if you check out On This Night, The Magic Of JuJu, & The Way Ahead you'll hear Shepp in contexts that suggest more of what you're looking for in terms of formal considerations. If you can get the LP version of Three For A Quarter One For A Dime, you can also get a whole big lot of one same thing, but the value/quantity ratio of that record is definitely open to question. Also, don't sleep on Conversations, a later (1999) Delmark album of Shepp joining Kahil El'Zabar's Ritual Trio.

Seriously? That's funny. Care to elaborate? I'm not judging, I'm just saying that M-Base sounds very 1990. Won't Glasper's music just sound very 2013 some time from now? Dating is by and large unavoidable, but it's a real trap when it comes to self-styled "groundbreaking" experiments. M-Base pushed ahead with metric subdivisions/time signatures/polytonality in a way that Glasper's not even thinking about (not that he should be). M-Base was aggressively confrontational, militant, even, in its musical as well as social positioning. Glasper is so only in his interviews. Steve Coleman's still making vital music today (and ironically/sadly, his music began to really feel "natural" after the M-Base hype had subsided, all the people who had reservations about it being too "mathematical" or whatnot had a point, but if they used that as an excuse to bail, they bailed too soon,imo. The compression of modern time does no favors to things that need old-school uncompressed time to season, and Steve copleman's music was nothing if not that), and to my ears it only sounds "dated" in the way that any music sounds "dated" when it continues on from whence it began. That Steve Coleman might be "all that's left" of "M-Base" (although, hello, Vijay Iyler) speaks more to the ill-advisement of the marketing label than that of the music itself, but hello Eternal Truth, eh? Will Robert Glasper be making vital music 25 years from now? I mean, really, who knows, and isn't that kind of a stupid question anyway? He's making pleasant and engaging music (at least to me) today, and will I even be here in 25 years? So why should I care, and why would I feel the need to prognosticate? That's his business, not mine. He'll make his music, and I'll either like it or not. Folks worry too much about people they think should be making music they like not doing so. I just hope that at some point he does something that gets a leech-like grip on the Whole Self like "Searchin'". Then he could make records with kittens and walruses (separately and together, it matters not) and nobody would care, because there would always be That One Moment. But he ain't done that yet. So, here's to hoping!

No, it's a metaphor for the author/book under discussion in this thread To wit: In other words, this guy, this author, he seems to be trying to create some fantasy idea of what he think/wants Ellington to have been. Fortunately (for us)/Unfortunately (for his attempts), the ugly stuttering of reality interrupts his idyll, and he is left being seen as the sincere but fatally flawed misunderstander that he is. He will try to place the flaw on Ellington, but since Ellington IS Ellington, the flaw is ultimately his, for thinking that Ellington was gonna be, could be made into, something/anything besides Ellington. Besides, that's one hipass piece of music, no matte what metaphor you want to hang on it. Janacek roolz, as does Ellington. Terry Teachout, not so much.

I think you can cast your star vote somewhere for each (and every!) member, kinda like Down Beat, only no ad space is for sale.

I love how the attempts to create a grand design of idealization keep getting interrupted by the recurring reality of the stuttering motif, just as repeated attempts to devalue or otherwise rate Ellington by the grand yet wholly irrelevant criteria of the would-be holder's wholly self-focued beholdings are interrupted by the reality of Ellington's actual output into Ellington's actual world. Outsiders looking in thinking they are on the inside teaching out, well, hey, there's you Great Jazz Books Of The 21st Century Collection, that right there. No wonder the kids don't wanna read any more, I can hardly blame 'em!