JSngry

I personally prefer ringing/bagging my own groceries...ensures that the produce gets handled with the TLC it deserves. But I don't particularly enjoy being in line behind others who decide to try doing it...some clown taking five minutes to inspect a freakin' can of biscuits looking for the UPC, then trying to scan it from the end, or some such...THEN it comes time to pay and they stare at the screen trying to figure out what PAY NOW means, then where the card goes (and which way)...THEN they realize that they have to bag the stuff and it turns into a "where were you in kindergarten the day they taught shapes, and have you suffered head trauma since then that has ruined your spatial discernment" and...GOOD LORD - these are middle-aged, middle-class-or-higher professional people and they can't even scan a bar cod or ten, slap a card in a slot, push a few keys, bag a few stuffs, and then get the hell outta the way without SOME kind of drama, like it's the "computer's fault" that you're a technological moron who can't' get over the fact that you gotta actually do SOMETHING besides just stand there and be served? It takes 15 minutes and a manager's multiple assistances to do five items? (Yes, I've watched that scene go down) Really? You sorry-ass self-entitled ignuntfuck SQUANDERERS! These people drive, and they vote. One way or another they gonna kill us all. Peace out, yo.

Quantic & Alice Russell -- Look Around The Corner CD 1 $9.99 $9.99 Buddy Rich -- Big Swing Face LP 1 $2.99 $2.99 Buddy Rich -- Swingin New Big Band LP 1 $0.99 $0.99 [b]JC Heard/Mary Lou Williams[s][size="7"][color="#FF0000"]/[/color][/size][/s]Edmond Hall/Maxine Sull -- [/b]Cafe Society LP 1 $3.99 $3.99 Earl Hines & Roy Eldridge -- At The Village Vanguard LP 1 $5.99 $5.99 George Russell & :smirk:The Living Time Orchestra -- So What LP 1 $1.99 $1.99

Watch out for The Jick. He'll getcha' every time!

Speaking of "Invitation, the Andrew Hill Robin Kenyatta version is a bit ripe, but so is a good cantaloupe. Far be it from me to walk away from either.

Except for the ones who will wear you out long before you wear them out (of which there are more than a few). Women, that is...

Joe Henderson played the shit out of "Invitation" any number of times. Not too many tunes that I dislike that a really good rhythm section and just the right tempo can't make me dislike less, but "Maiden Voyage", "Nardis", and "Waltz For Debby" come pretty damn close. The first two I once liked (lots) but... There's others, but those are the first three that spring to mind with no time required to think about it . Probably because people play it as a "tune" when it's really an orchestral composition. Same thing with A-Train (and many other Ellington "favorites"). The real meat on those bones is in the section parts, not the lead lines by their lonesome.

I like the idea of "personal identities" being so strong and distinct that they can seamlessly merge with other equally strong ones so much that I must be horribly confused. Must be. But you can't force it. That would be Stan Kenton (who I continue to develop new appreciation for, so don't take that as a slam. I'm just sayin'...). I'm liking the notion of The World As Ellington Orchestra, where Paul Gonsalves & Russell Procope can play in the same section, and have virtually everything in common precisely because they have virtually nothing in common. That kind of thing. Ah, but who - or what - would be the Ellington? Again, you can't force it, so...it'll have to come about voluntarily. But that's why when it seems that somebody is honestly moving in that direction, hey, I'll spend my money at least once, just to Keep Hope Alive and To Let The Fools Know. In the meantime...there's the meantime.

Whew, that's a relief. I was afraid I was the only one!

"Smart Hype" would be an oxymoron. Hype is supposed to be dumb. Smart people already know what the deal is. It's nice to be right, but it's even more nice to have income, and it's even nicer still to have income from people who were brought to the right by the dumb. Motherfuckers go broke playing for just to those in the know, ya' know?

I'm waiting for something like a Randy Travis/Madlib joint that everybody digs and nobody bats an eye at, so if anybody's confused, it's probably me.

Try some ammonia!

Your "desire for all this to come about" sounds kinda like a semi-political protest -- e.g. "my desire to rid my world of as much shit and bullshit as was not put here for me or by me or to be good for me but instead is here solely to serve somebody's notion of what my notion of what I should be should be." ( I'm reminded some, albeit in an inside-out way, of Bob Dylan's "...because something is happening here but you don't know what it is do you, Mr. Jones?") I admit that some music, or the promotion of said music, can have the effect of the sort of alien and alienating social nudging (or worse) that you dislike, but how this fits into "I look to hip-hop as a hope for it to be the 'popular' conduit for doing to metric texture and rhythmic dimension what Coltrane & McCoy did to tertiary harmony, and all the implications thereof" escapes me. Music can become a form of social nudging, but desiring/expecting music to (seemingly primarily?) fight back against social nudging (or worse)? Like that Dylan lyric, it reminds me of Woody Guthrie's "This guitar kills Fascists." No -- and new horizons in "metric texture and rhythmic dimension" don't kill them either. Not looking to kill anybody. Just seeing that there are other possibilities to/in popular music that fit "me" better than most of what 20th Century America has come up with (much as I've been touched by all that, it's mostly been a touch from without, not from within), possibilities of things like "place", "space", "size", timbre and rhythm as carriers of intellectual information entirely in and of themselves, de-necessitation of music as an at all costs "linear narrative" (hell, cut to the chase, condense it down, and repeat the hell out of it. If it's a good enough idea, that's grounds for meditation, music as mantra). I began to hear it in 70s Miles, then a few years later when discovering Fela...Whoa! Here's some ways of doing things that reach my mind and body a lot more directly than la--al-la AND they stir up thoughts and feelings beyond the initial. Much like....Ornette, Cecil or Trane or Ayler, or Roscoe or any other number of "jazz" musics that dealt with mulitple planes existing simultaneously & explicitly, information coming in all directions and "movements" of reaction being felt in long-lasting ripple effects. The hip-hop that I like is doing that same thing, just with a "popular" vernacular and technology. I'm a fan, and I offer my encouragement, because dammit, yes I DO have some goddamn bananas, and not just today, so I really don't find the joke funny any more, if I ever really did in the first place. So, I'm not about music nudging the social. No no no no NO. I'm about hoping that the social nudges the music, because then we'll have a music more reflective of a more-than-three-dimensional reality (which, after all, is the truth, ask any psychicsist or mystic). In other words, we'll have a more realistic music, at least, more realistic about what we now know. What we had was delightlful for what we used to know. But that was then, this is now, and although the fundamentals still/always apply, the modes/means of expression don't. A party that creates itself is always more fun than one that is presented. I mean, c'mon, living in a three-dimensional world is like being a character in your own book. You live life on the page, not in reality. People are figuring this out, and music is reflecting that, sometimes in failed gasps and spurts, sometimes in reach-exceeding-grasp visions, and occasionally, BAM getting there. If we're experiencing the first waves of a true paradigm shift (and I think we are), then we have to look at the notion that evolution doesn't occur linearly, nor are all changes rooted in sustainable (or even sound) principles. But on the whole, things that work take hold and grow and mutate and grow some more, and the next thing you know, there you are, a year or a few thousand or million later. Sam didn't make the pants too long. He didn't make them long enough.

Polysyllabic WORD!

Fine article, good commentating by HT.

Speaking for myself only, I look to hip-hop as a hope for it to be the "popular" conduit for doing to metric texture and rhythmic dimension what Coltrane & McCoy did to tertiary harmony, and all the implications thereof. Of course, this has all already happened in the "art" world, but me, I don't like the "art" world all that much , truth be told. Everybody thinks instead of sings and writes instead of dances. What kind of a world is that to raise your kids in? And for that matter, what kind of a world is it where people only sing and dance and never think and write? Not as bad a one, but still... Jazz had already gotten to the point where a world of Yes We Have No Bananas and all its various voluminous offsprings was no longer necessary. At all. And that was a good thing. Hip-Hop (at what I think to be its best) is doing the same thing for popular music., rearranging where all the "its" go and where all the "places" are, restoring pure rhythm as a force of the communicative intellect as well as the reflexive body,and...what the hell does "supposed to" mean anyway? Hip-hop possesses the potential to blow this shit up, just all the way up, and in some cases it already has. But old man not of the intended audience that I am, I would like to point out that having a revolution is easy enough, changing a world in the aftermath of one, not so much. Thus the input of the Wise Elders to the Young Re-Definers With Ears To Hear....strength on strength never hurt anything. So anyway... the desire for all this to come about? It's all about me and my desire to rid my world of as much shit and bullshit as was not put here for me or by me or to be good for me but instead is here solely to serve somebody's notion of what my notion of what I should be should be.

Just got Georgia Anne Muldrow's new album, put it on to drive to a gig this evening, and this one comes on, and I'm thinking all of a sudden, you know, that whole Robert Gasper thing might be nice, but it's not really...relevant, not with stuff like this going on...I didn't cancel my order, but still... http://www.youtube.com/watch?v=HQUFAhWnuVo&feature=relmfu http://www.youtube.com/watch?v=kZ2jza4fbJ4&feature=relmfu

There were two after that - one with Blakey on the cover, and the final issue, with Sonny Rollins on the cover. I have the Blakey but not the Rollins...should further cleaning turn up a copy, please advise!

For me, it's only the Joe Caroll date w/Grant Green that I don't yet have, and hell, I can get that, it's not hard to find. Having the Rockland Palace material in proper form would have been a big incentive to be to go ahead and get the rest of the stuff, since the whole shebang comes in at less than most of the Jazz Classics copies that can be found on a quick search. Two cd set on the Jazz Classics label (formerly Stash). These sound right to me, but you would know better. Here's an article: http://jazztimes.com...-charlie-parker I haven't yet done any comparisons of the Parker material in the new box set, haven't gotten to those yet. If you find that Mudbran has indeed issued the material at correct speed, please report back!

Yes, I've found the pitch-corrected collection..two CDs, in no way an "official" label, no longer in print and now selling for $40.00 +. If these Membrant people had just taken the time (hours, just hours, literally, not days or weeks, just hours) to have fixed this issue, hell, I very well could have been a buyer myself! Hell, I feed off the bottom at least as much as anybody else, probably a helluva lot more! But even at that...no. Not this. It's new, it's wrong, and...no. Not me. Not only me and you, but future generations of bottom feeders (and there will be many!) could have had the material in proper form, cheap and right. But NOOOOOOO!!!! When neither suppliers nor consumers give a damn, hey...this is what we get. More of the same. And more still. And still more. Still. More. Yawn.

10-15 years is a generation (or three) of players and educators and "industry types" (meaning labels, bookers, "thinkers", etc.). I have seen firsthand, and more than once, the impact/influence that "playing to the expectations" of these people have has had on young players who decide to become "jazz musicians". One night they're partying their asses off on the bandstand in a neighborhood club, then when the sun comes up the next day, that shit is OVER and it's all about not stooping to that level any more, where's my Clifford Brown records, I need a bath? I've also seen firsthand a time when the same "type" person would be reaching for their Clifford Brown records after they got home from the club, and then go back to the club the next night (after taking a bath, of course, but to get clean for the new night, not from thee last one), and not even think about there being anything right or wrong about any of it. Times have changed, brains have been washed (sometimes with boiling water...), and if we can't put Humpty back together again, at least we can work on getting the hen to lay another bigass egg.

Did somebody fairly recently post a CD that had the Rockland Palace material in pitch-corrected form? I though it was in this thread, but apparently not? I feel like hunting that sucker down, and a lead would be appreciated. TIA!

Well, cool. You don't have most/all of this material elsewhere and don't mind getting it this way. Good for you! Me, I do, and I do. Good for me too!

The same Buck Hill that recorded "Hail To The Redskins" on one of his Muse albums?

Live only. And only some of that. It's a pet peeve of mine, seeing stuff still issued in the same flawed form for close to 50 years running now. I don't care if it's bootleg, somebody take a few hours with a computer and just fix it once and for all, ya' know? It's not that hard a thing to do these days. But nooooooooo.......just slop it on in, slop it on out, take the money and go slop some more. I'm like, I've already got in the wrong form, I'll be damned if I keep on buying it in that form. It's kind of like asking for change to a counterfeit twenty in counterfeit fives and tens.