JSngry

The Candlestick Maker Stix Hooper People Who Enjoy A Twix

Bobby Valentine Cupid Sam Cooke

Rachel Z Sheila E Mickey D

Simon Cowell Simple Simon The 1910 Fruitgum Company

MM NO PQ

Jazz albums released in 1973, per:http://en.wikipedia.org/wiki/1973_in_jazz Sam Rivers: Streams Roland Kirk: Prepare Thyself To Deal With A Miracle Dollar Brand: Sangoma Art Ensemble of Chicago: Fanfare For The Warriors Don Cherry: Relativity Suite Cecil Taylor: Spring of Two Blue J's Keith Jarrett: Solo Concerts McCoy Tyner: Enlightnment Carla Bley: Tropic Appetites Dollar Brand: African Space Program Marion Brown: Geechee Recollections Herbie Hancock: Sextant Frank Wright: Church Number Nine Gato Barbieri: Latin America Frank Lowe: Black Beings Ralph Towner: Diary Dewey Redman: The Ear of the Behearer Eberhard Weber: The Colours of Chloë Roswell Rudd: Numatik Swing Band Oregon: Distant Hills Dollar Brand: African Portraits Weather Report: Sweetnighter David Liebman: Lookout Farm Oscar Peterson: Trio Cecil Taylor: Solo John Surman: Morning Glory Betty Carter: Album Mal Waldron: Up Popped the Devil Michael Mantler: No Answer Billy Cobham: Spectrum Herbie Hancock: Headhunters Spontaneous Music Ensemble: Mouthpiece Charles Earland: Leaving This Planet Flora Purim: Butterfly Dreams Herbie Hancock: Thrust Billy Cobham: Crosswinds Michael_Franks: Michael Franks The ones in red are ones that I would get exposed to in some form or fashion through through some combination of them being available in record stares, being played on the radio, getting pimped in DB through feature artist interviews, exciting reviews, and/or effective advertising somebody (often enough myself), buying them. And I don't think this list is complete by any means..no CTI, no Crusaders, no Gene Ammons *how is this possible?) no big bands. But a picture begins to develop of Impulse!, Fantasy/Prestige/Milestone, Atlantic, & Columbia getting their "message" out to a high school kid in semi-rural East Texas who had little more to a subscription to Down Beat, access to record stores that were serviced by these labels, and I realization that in less than a year I was gonna be outta there and into someplace new. Other than Steely Dan, "rock" was pretty much dead to my by 1973 as new music, but R&B was beginning to come alive all over again...

Waco called you name last night...were yo not in?

Also, I don't get that cut as a tribute to Lifetime (other than the opening bit) when it comes time to jam, it goes to Meter Land...not that I'll complain about that, although why not go straight to the source and save yourself 8-9 minutes? Time ain't cheap, ya' know.

Skronk?

And if you're a mailman, we'll buy you a drink!

Try obvious flashy head-banger...not too much "bluesiness" to it all...but he insists that Miles insisted that he play that way, and like I said, I have no problem believing that so.

HA! I'd say that time is in the process of proving them right about a lot of things, at least for now. But you never can tell with time, ya' know, it's liable to do anything on your ass without any kind of a warning. But for now, yeah, they were mostly right. Not sure I'd enjoy a world where Wayne Shorter & Joe Zawinul were mostly wrong. In fact, I know I wouldn't. People have tried to make that world, and it's just not working. But watch out for time, time'll do some weird shit anway, right or wrong!

His earlier stuff (which for me goes up to right about the time he left Miles) strikes me as a guitar version of Lockjaw in terms of how the pitch manipulation seems to be a not unwelcome but also also probably unavoidable side-effect of the timbral variation. In other words,, he's going for the "sound" first, and that just happens to be what happens to the pitch once the sound comes out. Of course, in the world of post-Hendrix jazz guitarists, things are always going to be like that...sometimes for good, sometimes not. But for real, listen to Star People. There's some really quirky, personalized guitar playing going on there, and not just in terms of timbre, but also in terms of phrasing and internal accents relative to the harmony, again, not unlike some weird parallel universe version of Lockjaw. I've heard him (Scofield) say something to the effect that it was him semi-stumbling because he couldn't quite figure out what he was going to play until he began to play it, but....hmmm...maybe that's not a bad thing? And fwiw, the one time I got to see Miles live was the transitional period when both Stern & Scofield were in the band. Even if Stern was "role-playing" per Miles' direction (and I've no reason to doubt that), there was a distinct contrast in evidence as far as who was hearing what how. But that was a long time ago and having a career in jazz is probably even more an issue of delivering product that meets expectations than it ever was (or maybe not?). I'll just say that at some point the quirk seemed to be less of a so, and that was kind of a drag to me, because that whole "thing" is DELIGHTFUL when there's quirk involved, and not really when it's not. But that's just me.

Sleeping Beauty Somnambulist Santo and/or Johnny

Supervised by Duke Pearson? I did not recall that!

Just curious, do you hear Scofield's note bending as being a manipulation of pitch, timbre, or both?

Three Billy Goats Gruff Brother Jack McDuff Crimedog McGruff

Early-ish Scofield is pretty damn quirky, actually "overt bluesiness" aside (and I think I know what you mean). If you can stand to listen to Star People , maybe do. And the trios with Steve Swallow & Adam Nussbaum (all on Enja iirc) are full of nothing if not quirk. The pocket is not where my gut is, but that's me, not him. I watched a few guitar players pick that stuff all kinds of apart back in the day, and, as with anything, it's when you get exposed to that level of detail that you can more fully appreciate what's really unique and what's really just good playing. Scofield had his share of uniqueness, imo. Metheny I've long ago come to respect the hell out of after years of reflexive distrust of excess sneakerjazz. On the long (and as of yet not nearly even slightly completed) list of Things To Get Over, that one has indeed been done gotten over. I think it was the live version of "Are You Going With Me" that did it. That shit just made sense, if you know what I mean. Maybe not so much if The Beatles weren't your Very First Musical Mindfuck, but as fate would have it, that was not to be my destiny. As for the album in question, I've long had it but only played it a few times, and not at all recently. Either my record player system thing is crap or else the recorded sound being played back out of the speakers was too "nebulous" (as in it all sounded like a hologram) for where my ears/head were at the time. Or both. Quite possibly both.

Zooey Deschanel Coco Chanel Don Menza http://www.youtube.com/watch?v=wK_xMCsYtBI

None of this would be a problem if we all spoke Esperanto, the most widely spoken international auxiliary language, I hope you know. I propose that going forth all posts be made in Esperanto or not at all.

Lou Donaldson Sam Donaldson Bobby Donaldson

Murray Slaughter Tom House Louis Armstrong and His Hot Five

Obviously you've not seen the Sonny Bono sex tapes.

The previously mentioned Stanley Turrnetine date Hustlin' (w/Shirley Scott) is about as good as it gets for guitar/organ hookups.

http://www.youtube.com/watch?v=usyTlQ5hLAw