JSngry

I can go there, then.

Irish is a race too?

Haven't heard any of the albums in the original post...what's so daunting about them?

Just checked, and my book is whole, and glossy, and some of the photos have an overexposed and/or photocopied look to them, about which I have no complaints, not in a package of this magnitude in this current business climate.

What kind of tweets does the old girl have left at her age anyway?

Did Brian produce it himself, or was it a "group effort"?

And there wasn't a switch he flipped to go back and forth! Thease are all tools that go into the making and playing of music. They are not the music itself, nor, usually, are they the object of the music itself. It may be that at some point a player hears/feels a melodic shape and calls upon their harmonic base-knowledge to determine with what notes to fill that shape. Later on in the same solo, the same player might hear/feel a harmonic sequence and then calls upon their melodic base-knowledge to determine what melodic shape to give it. And in the best possible world, you don't even have to think about any of that shit. You just play the music, it flows through you with all the carpentry having been done some place you don't worry about. That's the best. It's also the rarest, but it does happen once in a while, perhaps not coincidentally when you've been playing a lot and living a lot. Then, you just get the hell out of the way and let it happen. But it takes a lot of work to get to the point where that can stand a chance of happening.

Advantage? For/to what? I don't understand the question, honestly. I can only weigh possible advantages in terms of desired outcome, so...what would the desired outcome be? Reaching critics? Moving an audience? Getting rehired? Self-satisfaction? I mean, a lot of people play a lot of different things for a lot of different reasons. I can tell you that as far as reaching people (including critics), tone and basic rhythm are the shortest distance between those two points. You can reach anybody with damn near anything if you got that happening. Most people can't hear anything but the most basic math harmonically, and most people can't carry a tune beyond the most basic shapes, but see, those are both "intellectual" conceits, math and architecture. Tone and rhythm are both vibrational activities, and operate on a sub- (or, imo, supra-) intellectual plane. There's math and architecture in them as well, but it's of the type that tends to be felt rather than heard, since the math serves to deliver the idea instead of being the idea. Just forget about this whole horizontal/vertical thing, it's like a postcard of a mountain, not only is it only two dimensional (at best), the scale of the what you think you're seeing versus what's actually there is so shrunken as to be of next to no practical use at all. And if you use that postcard to go find that mountain, the one that literally looks like the postcard, you never will find it!, because the only place it exists in that form is on that postcard!

Joe Morris.

and Teddy Edwards! That's a fine, fine record.

I ordered thiks direct from Artistshare last night...once you do that, you have access to all the "extras"...mostly videos discussing the project, how it came together, pictures of the scores, stuff like that.

Peter North fucked and fucked and fucked, non-stop fucked his coworkers, and then blew the largest loads imaginable of thick spewy goo all over their faces. And that's what Scott Feldamn has been doing, never more spectacularly than this evening. Beyond that, the similarity ends, or at least as far as I know it does. Maybe Feldamn has an off-field gig that leaves him weak and ineffectul come time for his on-field one. I mean, for real - this fucker was throwing batting practice to the A's this evening. I kid you not. And then he doesn't even bother to act like he's trying to compete when it comes time to field his position. We send him to....OSAKA!

Giants travel in pairs.

Talk about fucking the hope away...Scott Feldamn (sic) is the Peter North of fucking the hope away. Whatever doubts I have about The Current Roy Oswalt are infinitely preferable to the certainties of The Current Scott Feldamn.

Those tracks with acoustic piano will show you that all the fuss about Miles "flirting" with electricity/rock/etc at the time were very much missing the point that Miles was doing more than just flirting with "free jazz" on his gigs. He had a tongue in the ear and a hand under the skirt, if you know what I mean. By the time that band got to Filmore (with either Wayne or Grossman) they had done made a baby, Miles & Free Jazz had. But all anybody was getting hard about was the "electric instruments". Somebody wasn't paying attention!

I'm sorry, but this is a funny joke, period, no matter at whom it's aimed at:

Didn't say I wouldn't buy the music. If it's available as an MP3 set, that will suffice. and yes, I really do hate Crumb's work. Back in the days when I was collecting "underground" comics, I went out of way to avoid his work. Just too damn...developmentally challenged. Too easy, a cheap style triumphing over an even cheaper substance (and giving him credit for having any substance at all might be a push...). Commies From Mars, otoh, that one was a real treat. Think I might still have a copy of this one in the closet. But Crumb? Nah, Crumb's a scourge.

Jerry Lewis Lewis Porter Porter Kilbert

I'm just like, how many people do I really need to talk to, at least by name? Probably not that many....

Both would run the risk of bouncing...

Here's hoping that this one gets the loving pimping in the jazz press that the Prez set did and that it moves with somewhat the same speed.

Vernon Wells A Dowser Taye Diggs

Just had #0533 arrive...seems like a low # considering that pre-orders were being taken for, what, 9 months in advance and I didn't order until after the set was officially announced as being officially ready to ship. This one needs to sell!

Where can I like this thread?