JSngry

The Rangers have another very good team and they're going to be tough to beat. That would be something, to have both Wild Card teams come out of the AL West, but it could very well happen. I guess you're talking about the Rangers & Angels, but if both WC teams come out of the West, who actually wins the division? Oakland or Seattle? Neffie's debut as a starter got severely underplayed in the media, thanks to the twin-hype overkills of Yu Darvish the night before & Ozzie Guillen the day of, but - some of us were worried about his mental toughness, especially after Game 6 last year. would there be any hangover, etc, but no, this cat was DEALING. Walked two in the first, but after that, nothing. No sweat, total poise, incredible command of his off-speed and breaking stuff, and, when needed, that fastball. Seven innings, four hits, hands it over to Adams & NAthan, BOOM, game over. Not even 2:30 long, if my wall clock can be trusted. There's only been something like, four or five 1-0 Ranger wins in Arlington, ever. And last night was one of them. FELIZ!!!!

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.

I know it's tacky to ask, but how the hell does a tenor player end up with that much money?

As well as Robert Farnon & Nelson Riddle.

All the more reason why you'd not get a straight answer out of Duke, especially at a seance.

FELIZ!!!!

"One Too Many Salty Swift and Not Goodbye"...tearful farewells? You're right, that's a poem unto itself, just eight words.

To kids, maybe not now, but down here, amongst people, say, 30 and older, if used in it's proper environment/context, it's about as strong a verbal assault on somebody's character as you can make. It's like, you're beyond sorry, you're beyond lazy, you're beyond piss-poor, you're triflin'. Strong words. White folks use the word too, but not with as intense of an intent. But maybe it's maybe it's a regional/age thing that is on its way out, yet another "private" expression diluted by general usage. There's a lot of those these days...

Hell, you couldn't get a straight answer out of duke when he was alive and there might have been some consequences. Now that he's dead...

Da Bastids say Yes I CAN Haz Hankburger! http://www.dustygroove.com/item.php?id=2wxxr8fxh4&ref=index.php

Or hell, just call it a C half-diminished. But that doesn't give you the "mystery" of the root moving up a step in the bass but a half step above that in the chord.

Try an Ebm6/D (which is really a D7(b9 b13 or if you're not theory-anal and/or would never even consider playing an A-natural on that chord, ever,, D+7(b9). This'll still give you the F#/Gb but with the emphasis on a diminished-ish sound (thanks to the Eb instead of an E-natural rather than the whole-tone thing that a #11 auto-triggers in a lot of players. And for a shell voicing, the Ebm6 gives you that. Let the bass play the D. Pretty sure Duke used something like this more than once...

Right. And I didn't suggest "banning" it, I just suggested being careful with it in general conversation, because times have changed. By "general conversation", I meant, like you're out at a bar shooting the shit with a group of your buddies, bad there's this hot light skinned black chick over on the other side of the room. You don't want to go over there, start breaking the ice, and then say something like, "you know, you're one fine high yellow" or something like that. That would be a very bad idea. Or, like you meet one of your friend's wife for the first time at a party and the next day at work, you compliment your friend on the attractiveness of his wife by calling her "a beautiful high yellow". That would be a VERY very bad idea. Obvious, you say? Well, not necessarily. Sometimes white folks learn a word like "triflin'" and jokingly use it on/to a black friend/associate/whatever, not realizing the depth of the insult that word is meant to convey. Bad move, and feelings do get hurt. Besides, if the context of discussion of jazz, its peoples and its customs is in any way or any world "general conversation", then I have died and gone to, if not exactly heaven, then at the very least a better grade of hell.

Roy Wood was a freakin' brilliantly goofy-genius. I'd pay money for a complete Wizzard set, and throw in Boulders just to make it right.

Yeah, I know. But just a little time has passed between then and now...

I set off some new dynamite every so often, just to blow everything up, just to see what gets truly obliterated and what eventually comes back and lands in the rubble. Pretty much everything lands in the pile, including the remains of the new dynamite. I don't think I have any actual "taste", I think I'm just a discriminating ho.

Wow, and whew! Yu's dues begin to be paid. Tonight, the team picks up the tab. This team picks up a lot of tabs!

My impressions, by no means guaranteed to be correct: "Solid" = everything as it should be, as in somebody tells you what's going on, it's all good, so you say "Solid". Also sometimes used to indicate doing a favor, as in "can you do me a solid?" "Mama Too Tight" = described by Shepp as "a woman of paramount virtue" which could mean a virgin (probably the main meaning), and/or a woman whose personal integrity is unassailable ("tight" in the old African-American sense meaning beyond solid, i.e. DAMN fine goo,' c.f. "Baby, everything is all right, uptight, out of sight", "uptight" meaning that things are GOOD. OTOH, I read an old interview with Captain Beefheart where he took it to mean "baby, you need to relax". But I'd go with Shepp. "Pitchin' Can" - I always took this as a variation on "pitching cain" which is a Southern (I guess...) expression meaning the same as "raising cane" which means whoopin' it up and raising hell in a party-like manner. This one I could be waaaayyyy off on. Also, be really careful with "high yellow"...that's a very "charged" term as it was/is often used by racist whites to describe a light-skinned African-American woman who appeals to them sexually, as well as in a boast when these desires are actually fulfilled, consensually or otherwise. Even when not used by whites, it's, as I've encountered it, never really used in a really flattering manner, often used as a more crude/blunt/personally-invasive form of "siditty", playing to the "skin tone caste system" that has existed both within and without the community. So, defintiely not a term to toss out in general conversation, if you know what I mean...

I like that Sylvester tune...it plays at my house not infrequently...if you ever come by, I'll have to have fire extinguishers aimed at you from all angles at all times!

The thing to remember is that, no matter what OS you run, online "security" is always gong to be a reactive game. Always.

That sounds about right.

A bottle of cheap wine goes a long way towards...wherever. White port was a favorite where I came from, unless you were an out-and-out wino, and then it was Mad Dog or some such. As for that lyric, that's "Little Old Wine Drinker Me", right? I think the actual lyric is "I've asked the man behind the bar for the jukebox". If not, yu got me as to what it means.

People be getting dazzled by the gesture without having a clue as to the mechanincs, what's actually happening. "Mixing jazz and hip-hop", well cool, but what...does..that MEAN? What is being done, exactly? Where is the jazz, where is the hip-hop, and how is this all being fit together...or is it really fitting together at all? I mean, I've heard great shit and I've hear shitty shit, and I'll be damned if I know who to go to who's regularly displayed a modicum of non-hype, non-jargonical ability to break it down to me in a way tha makes real sense. I'm not asking for Mister Peabody, hell just be able to tell me maybe waht samples are being used - and how -, and why record X is lubed like a room of recreational porn starts after-party and why record C is like a pile of dead mashed potatoes that kill lab rats. In other words, display some knowledge of the music that matches what you proclaim of the sociological, and then we'll know who's got meat in the freezer and who's trying to hustle an invite for lunch. But this music is going to keep happening. There's every reason why it should, and hardly none why it shouldn't. And me, I'd prefer it be good, because when it's good, I really do like it.

I think we just need to let people be and make whatever music they feel like making, for whatever reason, to which end, the more I see how...upset things like this Glasper record & Nicholas Payton's thing make some people, the more sense Payton's whole "jazz is death" and "BAM" thing is making. It's like, there's no reason why you have to play a certain thing, or a certain way, other than to appease your "owners". But if Robert Glasper can make a good contemporary R& B record and bring some "jazz sensibility" to it (and I hear it, just like I heard it back in the days of The Great Sellouts", and just as I stopped hearing it when people started playing that type of music who didn't have it), hell why shouldn't he? I mean, did he make a compact with God to not ever do something like this? I dog that a lot of "a certain type of people" can' get with hip-hop on even the most pbasic principle, and I get how there are other "certain types of people" who don't ever want to hear non never pop/R&B/commercial/whatever music. But isthis their world to determine what everybody/anybody should or shouldn't play, what kind of musics, for what motivations, to what ends? I think not! Tell you what - I've been reading "jazz criticism" of some form or ilk for a little over 40 years now, and I don't know that I've yet to read one, not one, critic or pundip or punjab who can deal with any ongoing "commercial jazz" scene from about the mid-1960s onward in the sense of displaying genuine musical discernment. Like what Grover Washington records are better than others, and why? Herbie w/Vocoder, what happens if you don't reflexively run in horror? Ramsey Lewis, what's up with those tempos, jack? Why so just-so? CTI, when do the base track drive the post-production, and when does the post-production come to the rescue, these are all very real questions about how these type musics get made, and a quick "commerical" brushoff is dishonest and inaccurate.. Whereas lots of...words get written about not so much of nothing more than the same changing back into itself. Confound expectations - make music that carries with it no other expectation that it is by-god going to get made, and let all of "those types of people" free to just leave you the hell alone.