JSngry

I imagine somewhere there are a few boy scout Stones fans who send money to friends in Europe to buy & download the FLAC and then Dropbox or whatever the FLAC back to America. There's got to be one or two who have done this. The internet will be your friend.

ROTFLMFAO!!!

Somebody with all the time in the world should scour old Down Beats to see if there's any mention of a club date...there used to be "beat reports" in every issue from cities around the everywhere.

There's a story to every scratch...

Not sure, but I think confirm. I'd emphasize the at times over-the-top, romantic, cinematic "sweep" of Anderson's conception, which then certainly leads to specific pianistic things, but I feel that the "sweep" is in the lead here. Check out the compilation's Vee-Jay material first. Something similar certainly can be found in John Young's playing, but there it's essentially impish, not willing to proceed nakedly to the point of near-delerium, as Anderson sometimes is. Yeah, ok, got it. What I'm talking about is a pianistic thing that could (and has been) applied to any number of interpretive ends. Just a way of talking, separate from what is being said. so many of the Chicago tenor players have it too, even today, a certain accent in their tone...kind of a sharpness in the upper overtones of every note (which a probably complete science fail, but I hope you know what I mean...).

da da da dada da da daaa da da da da da da da da da da dada da da daaa da da da da da da da da da da dada da da daaa da da da da da da da da da da dada da da daaa da da da da da da da doobie doobie doobie doobie doobie doobie doobie doobie doo-bie badoobie doo-bie doobie doobie doobie doobie doobie doobie doobie doobie doo-bie badoobie doo-bie da da da dada da da daaa da da da da da da da da da da dada da da daaa da da da da da da da da da da dada da da daaa da da da da da da da da da da dada da da daaa da da da da da da da Neither clever? Nor variated? Discuss amongst yourselves.

If there's a problem with the title cut on that one, it's not the African percussion choir, it's Shepp's then-relatively limited vocabulary and his penchant for episodic rather than narrative solos. He just didn't have the stuff then to play as long over that type of backing as he did. Truth be, I've never found Shepp to be particularly effective in a generic, blowing, stretching-out environment. Give him a spotlight and a soliloquy, and damn, he can fuck you up. But just give him a tune and a "jam"...not so much, especially the longer he goes on. I love the guy, always have, but I'm just sayin'...

Will it confirm or rebuke my view of Anderson as a part of that continuum? For me, it's mostly a right-hand thing, this "Chicago piano thing" and it's in no-way a constant thing. It's just something that shows up as a part of the playing conversating, casual, not really something done to call attention to itself, just part of the natural way of speaking.

Definitely.

There's a whole "Chicago piano sound", a certain general touch, a certain general sense of voicings...I've heard it posited that it goes all the way back to Earl Hines (would that make it a Pittsburgh thing, then?) Herbie showed it any number of times, and although I'm not terribly familiar with Chirs Anderson (yet), what I've heard from him suggests that he is a part of that continuum as well.

That's not a nice term to use about a woman.

Why wait for the untrampled foreigner? Be proactive!

...and Donald Fehr trying his damnedest to get so far behind somebody's head that nobody will notice that he's there too....nice try!

Barbeque goat will make you rethink your life, and in a thoroughly good way. Trust me.

I'm getting Frosted Mini-Wheats ads in Spanish.

I don't object to releasing a needle drop in this situation. I do object to paying for it, however. So, I'll bide my time and wait for someone to steal from the thief. Or even better, find somebody who's got the album, do your own needle drop, and then upload it for all your friends to share. That's the brotherly thing to do!

The Ohio Players, concert in Waco, 1979. I was in the local opening band. Gig was gonna pay a bill and a half. Got all excited, drove from Denton to Waco to the venue...nobody was there. Gig was cancelled, didn't you guys hear? No this is Waco, we're from Denton, where's the promoter, anyway, we gotta get something out of this! Ah, the naivete of youth...

Another freely admitted influence.

Yep.

Yeah, that too. If you look hard enough, you can find some real delights in the "easy listening" records of that era. A lot of the writers were "goos soldiers", but the best of them knew the meat was, and weren't afraid to give, as one of my buddies says, "three chords to pay the bills, and one to make me happy about it". And occasionally, as with Riddle's best work, "paying the bills" does not even appear to be a consideration. When you're playing "songs", you're always looking for new ideas about how to harmonize them. These guys had some pretty hip ones.

Speaking of naturally curious, it was only in the last year that I came across this one from 1974's Dedication, a solo album only released in Japan. I heard it on a house/hip-hop/whatever mix that was on the internets (there are, likely, millions of these), and didn't bother looking at the tracklist until later. I thought it was some brand-new thing that was exponentially raising the bar as far as improvising with loops and drum machines and sampling and post-production and all that...imagine my surprise when it turns out that it was all recorded in real-time with the backing being not a drum machine, but an ARP that Herbie set up to do this and then just let it run while he improvised over it. Hell, in 1974, Headhunters was still fresh, and Thrust was, what, a year away, more or less? In a way, this is an extension of "Rain Dance" from Sextant, but in other ways, it's a whole 'nother thing. Years ahead of its time, literally.

Yes, and Chris Anderson said he was influenced by the same guys -- this (their influencing Anderson) taking place when Hancock was still in maybe seventh or eighth grade, if that. Thus, while meaningful independent Hancock encounters with the music of Farnon and Riddle might have been possible, the likelihood is that Anderson was the filter. Well, it's not like Nelson Riddle was an unknown quantity in 1960 or thereabouts. Unavoidable would be more like it. Farnon, I don't know..I've had to look long and hard to find really good stuff by him from the 50s that's readily available, but I do remember one interview with Herbie where he cited a specific album, something Farnon had done for a singer, I forget who, well-known, though. Tony Bennett, maybe? Does that sound right? Of course, maybe Chris Anderson pulled his coattails to it all, but if the implication is that Herbie never really checked out Riddle and/or Farnon independently and/or analytically but instead just got it all from Chis Anderson, I don't think that's necessarily fair or accurate. This is a guy who's always been "naturally inquisitive" from Day One, or so it seems.

I understand the emotion, definitely. You still have survivors, lots of them. Survivors, refugees, children and grandchildren of people who have some pretty horrific stories to tell. And Guillen definitely should be cognizant of that. But I don't think it's at all fair (although sadly symptomatic of the times) that one quote gets isolated out of context and all of a sudden it's Ozzie Guillen Thinks Sadistic Dictators Are Cool People. Ain't like that, at least not what I've found. And I don't blame the Cuban-American community nearly as much I do the lazy media. For every one articel I found online that gave the full quote (which provides a bit of context for a careless statement that definitely needed it), there were significantly more that just reported the Guillen Loves Castro. Period. The funny thing about it is that if all this hubbub continues, Guillen's identification of/with Castro as a Marked Man Who Survives will only be strengthened. Besides - Americans love gangsters. Let's not pretend we don't. You'd be hard pressed to find somebody who says "I love John Gotti", but you'll find plenty of people who say, "yeah, I gotta respect how the mob lives by their code" and so forth. So let's get real about what was actually said and what it really meant, hopefully.

If you read the full quote, he was just saying that he respected Castro because he (Castor) has been a "marked man" all these years and was still standing.. The "champion" mentality of all competitors, the refusal to get knocked down so as to be taken out. He's talking about basic "survival skills", not specific political brutalities. Horribly, stupidly worded sentiment, but certainly not a vile one within the very limited realm which, it seems to me, it was referencing. Still a stupid thing to say given the fan base in Miami. Oh, totally stupid thing to say, especially in Miami. But if you believe casual media reports, he was talking about Castro as A Great Human Being And Postivie Role Model, and I didn't get that out of it at all. Still there are certain things that you just cannot say in America without people jumping to the worst possible conclusions, and anything about Castro that is not ambiguously and totally damning falls into that category. Especially in Miami. Never mind Bautista's caretaking of the island as essentially a whorehouse and casino for debauchery-craving Americans, that's not relevant. Castro is The Single Most Evil Man In The History Of Cuba. Nobody else counts.

brump CHINGGGGgggggggggggggggg But of course!