JSngry

I'd not hope for too much out of the Rangers, to be honest. Except for a few spurts here and there, the offense has not been up to par, and now that September is in full force, the pitching is starting to struggle. Lone bright spot - Adrian Beltre, as always. But otherwise - Yu Darvish as lost four 1-0 games this year, and that's just the most blatant example of offensive anemia. The reasons can be debated and dissected (and probably not in that order), but...not for me, not at this time.

My shipping was something like $6.90...kinda bullshit, but, yeah, in this case, that's what it took, I guess. Shipping rates can be determined (after a fashion) here: https://www.klompfoot.com/6F7B7F0620BD473B9046/shipping-rates.html Not particularly user friendly, but...it works.

Also found it at Cadence over the weekend. Shipping seemed a bit gouge-y, but oh well...

Or something a little less traditional, perhaps? or this:

Satan In High Heels Pumpsie Green Mary Jane

Repetitive Structure? Check! Singable Melody? Check! Chord Changes Clearly Delineated? Check Steady Time Kept? Check! Soloists Play The Form? Check! Blues Flavor In Timbres And Rhythmic Impetus? Check! Latin Tinge? Check! Post-Coltrane? Check! Pre-Free? OOOOOOOOPS!

Seems to be a roundabout synergy to that idea, yeah...

The key is to google the headline, and then go from there: https://www.google.com/search?q=Jazz+to+Dream+Troubles+Away+A+1931+song+keeps+a+mentor%27s+memory+alive+for+the+Newport+Jazz+Festival%27s+founder&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a&channel=rcs

I carpe diemed on that Dionne Warwick set...gems aplenty therein.

http://www.youtube.com/watch?v=0Er8S4Fw0TQ

Joe Guy Lois & Hi Lewis & Clark

Yes.Oliver!

I completely missed this one...is it still semi-readily available? I'm good for some Jimmy Lyons no mater what, always.

Sounds like he knew what he had withhis business and saw no reason to go giving it away (in whole or in part, temporarily or permanently) under the notion of "expansion". Smart guy. And that sounds like a hugeass catalog...you'd almost have to live it in real time to hear all of it with any real sense of what was going on...but that's true of most things, I suppose.

Moved to Offering & Looking For to better increase your chances of success. Good luck!

Yeah, I know about the "progressive tonality"...really no different a concept than people like Wayne Shorter (again!) who write pieces for improvisation that move across tonalities rather than remaining more or less diatonic from start to finish. Very conducive to "story telling" rather than "blowing"...although in the end, it's all "story telling" of one sort or another, right? You start a Point A, end up at Point Wherever, and in between is how you get there. That's not the hard part! By "devices", the things I was wondering were like a novelists "characters", I was more referring to specific intervallic concerns, rhythmic patterns, and timbral/orchestraion practices...there's a certain "slashing" thing that he uses that I swear is the same as Bernard Herrmann used in Psycho, it sounds like the exact instrumentation and voicing...maybe Nielsen got it from somebody else...this is not my field to quote deep historical specifics, obviously...but it's pretty LOL whenever I hear it, like, oh, THAT! (and not in a bad way, either). You mention Simpson, I mention Horenstein, and we both mention Nielsen...here's the zeitgeist of all that, then, recently brought to my attention by a friend who's puling my coattails to some very interesting things that I'd otherwise be completely unaware of. Never mind the yacking over the music...Simpson brings interesting-enough banter (although "wild"/etc. is relative to background, and...sorry, no, that's not the word I would use, not at all, but..onward!), and Horenstein brings a magnificently lucid performance.

Strange how differently we relate to music. I've been listening to Nielsen since the late 70's and love 2-4. But 1 and 6 still have me flumoxed. Interesting how a completely different listening experience carries you into 6 straight away. I'm sorta following Horenstein right now, not composers per se. The repertoire is varied, and the clarity of the music itself is always crystal clear. I can easily see how something like this 6th could get lost in the hands of a different conductor, one who didn't hear/feel it the way Horenstein did, I mean, there's a LOT going on there, a lot of transitioning in a lot of layers, as well as a lot of opportunities for the whole thing to crash and burn, so blend and phrasing are critical to making it speak, and those are Horenstein's strengths, I believe, getting everything to speak, the pieces to speak for themselves. In that sense, it's the exact opposite of "interpretation", no "translation" needed, just a clear(est) understanding, but in the real world, any group of one or more musicians can deliver the music any different number of ways, and when you have an orchestra and a score, you pretty much have to have that conductor to decide What Are We Saying Here, And How Are We Going To Do It. For whatever reasons, Horenstien is getting the music to speak to me with incredible clarity. So, I'm just checking him out, and wherever that leads is where it leads. But yeah, coming to it from where I'm coming from it, a lot of it is like hearing from an unknown cousin (or more appropriately in chronological terms, uncle) from a foreign land, so to speak, something where you hear it and say, oh yeah, THAT, I know what THAT'S talking about, that's folks. The guy seems kind of darkly serious-funny to me, not at all unlike Wayne Shorter...quite similar actually, not as much in terms of devices (although, perhaps some...) as in terms of being a very...layered person in their music, especially in terms of being batshit crazy and seriously right all at once, can't accept the one without accepting the other. I love it when that happens. The same CD that has the 6th also has the 3rd, and to me, that's some tough sledding, not in terms of hearing it, but in terms of liking it, at least to this point. I hear a lot of the same devices in the 3rd as I do the 6th, but not put to as deft a use. But I'll give it a few more gos before deciding. The 6th, however, is going on my iPod to serve as walking music. What I don't know (and at this point don't care about too much) is if these devices were sort of a running thing with him, like what he made his symphonies "about" in some way, like how a novelist will create a set of characters and keep coming back to them over the years, have them age, grow, change, etc. If that's the case, then perhaps a complete set would be nice. But maybe not...like I said, I can hear plenty of ways for this music to "go wrong" in interpretation. So...we shall se. I got time, at least until I don't, and the "complete all at once" thing is not something I'm gonna do just to do.

So, this guy not dealing with the Western market strictly as a matter of principle? Did he ever elaborate on that? Was it economic, political, spiritual, what, exactly?

How are things in your town?

Michael Brecker David Becker Woody WOODpecker

Don't you love it how young talent looks all moody and shit for album covers, and then when they age they get all smiley and friendly for the covers, when the odds are very good that in real life it works just the opposite way? A smiley young person on an album cover is creepy, and a scowling old fuck is just scary. I guess that's why. Do a Google search - Aimee Mann still doesn't smile too much. On top of that, one of her albums is titled "@#%&*! Smilers". As I remember, she had/has really big feet. Not clunky or malformed, just large. Perhaps that's what's up. That song was all over MTV back in the day though. I remember it well, if not particularly fondly, as I do MTV.

Carl Neilsen - Symphony #6, conducted by Horenstein w/the Halle Orchestra)...the leaping 5-1 intervals stir memories of Coltrane's Medifations and the overall objective, logical bizarreness puts me in mind of Wayne Shorter. It's a "track" because it's presented with no real pause between movements. Really striking music.

Sobering, sad, and poignant.

Tom Waits Bud Powell Gautama Buddah