JSngry

One will also have the chance to hear him play solo in the West Texas desert: http://namelesssound.org/events/2013_10_12_brotzmann_hill.html I just can't get that into the guy, but that would be such a surreal experience...

You know who's gonna kill somebody at this current rate? Tanner Scheppers. Dude likes to work high and tight anyway (which is, of course, legit), but either he lets hangovers get the best of him every once in a while or else he just loses his nerve. Whatever it is, it's just a matter of time. Last night against the Astros was ugly. Ugly and scary.

EMERGENCY! Like "Leap Frog" with the jitters. Oh yeah, this one.

If one does not like "Misty", can one substitute "I Want To Talk About You", like hey sorry, I don't want the potatoes, can I get steamed vegetables instead? Or "Ebb Tide", like, ok, just half a side salad, no dressing, thanks!

Yes, Mannix. That bridge is sweet. Here's Jack McDuff! And here's the Perry Mason theme slowed down 800%!

Elroy Face Elroy Jetson Daughter Judy http://www.carolmarksmusic.com/daughter.htm

I remember when Piano Jazz first came on. I was skeptical at first, knew very little of McPartland as a player, and her semi-giggly British White Lady voice had me wondering Oh jeez, this is gonna be as unnecessary as it will be disastrous. Well, I could not have been more wrong, and it didn't take that very much long to realize it.The Piano Jazz archives are a wonderful resource, if not always for performances, then for anecdotes, revealing of personalities, whatever, as much a revealing of the people as of the music. Two pianists talking piano, excellent premise excellently executed over a lot of years. RIP, and thanks.

I always enjoyed her work. Not that large of an output, put what there was always sat right with me. RIP, and yes, this is a loss.

That Girl (you're gonna lose...) That Guy (you don't want to be...) Those People (c'mon, REALLY?)

You don't have the bootleg Ornette/Cecil version of that? The one where Steve Lacy and Roswell Rudd walked onstage halfway through? Dude! I do, but it needs some serious speed correction, it's, like, a minor third slow, so...can't offer an objective opinion just yet. You know how the ears can play tricks when the speed is off.

I hear ya', Jeff, but maybe "The Lion Sleeps Tonight" is one that neither one of us will live long enough to hear that mind-changing version?

I got where he came from, just not where he went to.

There's a version on Road Band Volume 2 (that's what the LP is, not sure about the CD, Red Barron label, iirc) that is not that long a solo, but Gonsalves gets gonzo in his ideas, pure-d OUT there. and yeah, if you came in too loaded, Duke was not above hanging you out to dry (out). I gather that his tolerance was high, but not unlimited! What I really like is that thing they added around '65 or so, "Old Circus Train" right? As a background, and they'd finish it up with this longass band trill that at times would just keep going on fordamnever. sometime Paul would get asecond wind out of that, and then HOO-WHEE! The world that enabled music and people like this doesn't really exist any more. and even when it did, the Ellington World was some rarified shit.

Are we talking the Bacharach "Alfie"? Sonny never recorded that one... It's only banal until you try and fake it. Then it becomes labyrinthine (thanks spellcheck!). True, that, of a lot of Bacharach-David songs, they sound a lot less toothy than they play. Perhaps like getting full-body slammed from 20 yards out in a touch football game, you weren't really expecting it, and it shouldn't be so, but dammit, it happened, and there you go, good luck getting rid of that. I've been on both ends of that, albeit in different games, several years apart, and I've had to fake "Alfie" on a few occasions as well. So this is 24-Karrat 3D real y'all, not some hypothermetical pretense. Yo. Not that you should get rid of that, you probably shouldn't, and yeah, there's kind of a rush in it once the initial shock wears off. But never again will you trust touch football to be guaranteed. And that is the right way to look at it!

Roy Wood Johnny E Sam Herman

Sleepy Time Gal Dream Weaver Nitpicker

A lot of good compositions don't get played because they create such a unique "space" (or in Mingus' case, spaces). They're not just blowing vehicles, they're statements of being. On the one hand, it could be said that any music that is that "personal" can never be accepted as a "standard" because not a lot of people can occupy that space. It can equally be said, though, that maybe it's not the person's job to occupy that space nearly as much as it is to allow themselves to be occupied by it, and then see what happens. Moncur's stuff is just so specific. You almost have to be a role-player to play it to where it speaks in its own voice. For my taste, it deserves to speak in its own voice, because it is certain in its statements, very certain. and if you as a player are not in agreement with that certitude, then either walk away entirely, or else shut up and listen to what it is saying and then proceed accordingly. Hill's music is another example of an idiosyncratic voice. All the individual "elements" are traditional enough, but the timing, the harmonic rhythm and the pacing of the melodies compresses and expands to the point where it seems like a blur, and it is, but it is a very precise blur. There are no accidental or casual notes or changes or rhythms, and as was said about Monk, if you get lost, you don't just get back up and get back in. Hill's voice will lull you with its mumble, but reward you when you decide to pay closer attention at all, to bring the blur into focus. And then, there you are, fully. What happened to the blur? WHAT blur?!?!?! Hill, Moncur, (and Mingus, too, even today...when was the last time anybody called "Meditations On Integration" at a jam session, public or private?), did not create "easy" music to be readily called in jam sessions or on pickup gigs. They made music to be absorbed, inhabited, and then let back out with their truths renewed through being revealed anew, not repeated verbatim. I guess it's the nature of the various beasts that make up today's music world that there's really not much interest in or opportunity for doing that to their music. Pickup bands need easily commoned ground, original bands are expected to produce "original" music that may or may not have the depth and challenge of people like Hill or Moncur but the process will definitely be made to look like it is Doing Exactly That, either by so doing, or by self-delusion, or by group hypnosis/wish-think, or some/all of the above, and The Tradition Industry has already decided what suit you'll wear when you hear what Exalted Pieces Of The Canon. But - Horace Silver in 1956 and Horace Silver in 1978...not the same music, although still the same pen and many of the same components. Who covers Horace past 1965 or so? Convenience is wonderful as a convenience, but as a sustainable lifestyle? Perhaps not, but obviously apparently so, if non-evolutionary life is either really sustainable or really life.

NO! NEVER!!! jk, of course you are. everybody is and everybody does. I'm just playing today's episode of Judd For the Defense, and today's case is Joe Zawinul vs The State Of Easily Overlooked By The Jazz Orthodoxy AND It's Alternate Doppleganger. The case is being handled pro bono, and the commercial interruptions are minimal, thanks to a generous grant from the I.M. Intuit Foundation. Stay tuned for a delightful evening of taut courtroom drama as fresh as today's headlines from yesterday's paper! Sincerely, The Estate Of Carl Betz

The cumulative work of Joe Zawinul is as easily under-estimated as it is over-estimated. There's some pretty meaty stuff alongside the pretty catchy stuff, especially in the later years. There's also grandiosity as well as grand. I have no idea who's rating it on what, but just sayin', it's not all "Mercy Mercy Mercy" & "Birdland". How it all list-relates to Ellington, Mingus, et.al, hell, I don't know, and not sure I care, at least not right now. Last time I looked at a list was Sunday, at the grocery store. Just saying that the man did have a voice, a strong, distinct, and not insubstantial one, and he used it.

Started reading last night. I can usually tell with any book within the first 15 minutes of reading whether or not I'm in on the commitment to toilet-read, which means sitting there long past the toilet work is done. That's the only real practical time I have for book reading these days. The subject/premise is irresistible, and the early narrative is full of dry, quirky touches, lots of chopping of vegetables. So yeah, I'm in.

That label is one of those things that have long fascinated me...but I've never bought anything of theirs. The website ordering process seems rather nebulous. Is there a more..."linear" way to get their catalog?

The Car Talk call from the lady who had a horse try to eat her green truck and she was wondering do horses have a thing for any particular shade of green (sic) is one of the greatest radio moments ever.

I got the latest Monday Michiru CD from CD Japan. Even with shipping that equaled the purchase price it was a buck or two less than DG and got here in about a week. Such is not always the case pricewise, but point just being that CD Japan is a "proven performer", and if you want to pay less for slower shipping, quite possibly a cost-effective one, at least for US buyers. But Dem Dirty Bastids are quite often very competitive, so...shop freely!

Sorry, no direct links to Dime or other torrent sites. Discuss freely, just don't link.