JSngry

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.

I'm waiting for the time /person who can just be these things without "trying". Stevie Wonder was there for a little while, Earth Wind & Fire too. Marilyn Scott's first LP, the greater part of Monday Michiru's work is all the way there...so I know it's not a "human" impossibility to naturally/meaningfully be simultaneously parts of may different places/strata/whatever. But we live in a time where this..."multiness" has been steered into a cheap lower-common-denominator-ness, appealing only to base instincts, be they high or low in character. I'm also waiting for the time/person who can make music like this without it being a "project" and instead just have it be their music. Period. Again, Monday Michiru has pretty much been there and done that, but that she had to do it w/o any support at all from the American pop or jazz "industry" suggests that these industries like to sell what they know that the consumer knows that they want to know. Big surprise, that, eh? So...anything that moves the ball along, the game of musical literacy and imagination being able to organically speak a language that "preaches past the choir", be that movement be inside the artist, the public, the industry, all/some/none/of the above, and/or etc., I'm all for it. Those who are not so called can go ahead on, but those who are...should not let Purism (real, imagined, feared, or forced) be a consideration. With all the Purist Tentacles infesting the music at all levels these days...easier said than done, which leads me to wonder...was the Glasper album under discussion here sanctioned by the new Don Was Blue Note Regime? Couldn't agree more, but Hype gonna do what Hype gonna do... And remember - this Hype is being directed at/to "jazz fans" for whom computers in music are necessary evils, and then only for reproducing music, never for actually making it! (ok, that was a little snide. But inaccurate? Not all that much...)

Messiah, no. HELL no. That's record company hype, all the way. My point is that in it's relatively short history there has never before been this big a gap between the technological and/or technical of "jazz" and it's contemporaneous "street music" cousins (or whatever familial relationship one chooses to append). I don't think that this has been particularly healthy for either, and yes, I do find it to be an enforced, not a natural, segregation. The signs that the "laws" are finally being disregarded by some names who could have stayed inside the lines heartens me no end. As far as it being "the future", well, yes, it is. All futures are ultimately "the future". Except when you think somebody else is doing it. It's an old game we play here...

As far as "historical determinism"...please note that the advent of "smooth jazz" over the last several decades is the first time that a "contemporary pop" form of jazz has not been populated by music or musicians who display an even tangential relation to the "hardcore" stuff. This has not been an accident. "Pure jazz", "upholding the tradition" all that neo-conman rhetoric has created an environment where The Noble Jazzman MUST NOT indulge in popular tastes, especially ones as "anti-musical" as those displayed by the "musical illiterate" "street hoodlums" of hip-hop/etc. The Jazzman must be BETTER than that! So put on the suits, look down your noses (even if from the perspective of your head being up your ass) at your world, and UPHOLD THAT TRADITION (that tradition which is dictated to you by thsoe running the Big House). DO NOT ENGAGE THE MASSES!!!! Me myself, I think that's just about as wrong as wrong can be, and it makes me happy to see "jazz musicians" starting to display some recognition that they too might feel the same. It would be a real treat to have "pop jazz" sound like the "pop" and the "jazz" both were real again. Then I'll just read your posts in What Are You Listening To Now! I mean really, is this a game you want to play again? I don't. sorry.,

Don't know about "historical determinism", but I for one am glad to see that musical determination is still alive and somewhat well.

Not all steps are directly forward, but I'd rather see missteps towards the forward than repeated marching in place, which when sustained over a long enough time end up basically creating a pit in the ground from which eventually there is no escape. Truthfully, "this type of thing" should have been happening a long time ago. As mentioned earlier, people have been trying, but the Masters Of The Jazz Plantation wouldn't allow for Runaway Slaves and the like, (and you must admit, Lincoln Center is a pretty impressive Big House, as far as Big Houses go (which ultimately isn't very far, but...it sure is BIG!!!)). so "jazz" is behind the curve here, it's instincts & reflexes stunted for a generation or two and now running from behind. But I have hope and I have faith that once the catching up has been done that some GLORIOUS music will come forth, and things like Glasper's & Payton's works will be seen as waves that helped erode the rocks that once stood where the road now lies.

Don't know about the "mesiah" business, that's hype if ever there was hype (and you know there has been...) but that's a general field that I've long been in favor of sowing. The samples of Black Radio I've heard are all to my liking in that regard, so I'm buying this one. And while I'm at it, I'm buying Nicholas Payton's Bitches too. Fuck it. It's time. Way past time, actually.

Shannon's been in Ft. Worth for about the last 5-10 years, living in semi-retirement in his late mom's house.

Time for the lion to lay down some tracks with the lamB.

Duz McDonald's make yur naytchur rise?

You might not actually "hear" it literally, but you should probably sense it. The timbres of the instruments just seem a little "speedy", as do voices (if any). All I know for sure to be off is the Rockland Place. Not sure about the rest of the live Bird, it might be ok, pretty sure the stuff with Wardell is. All the Pres stuff is ok, iirc. But - there's Dial stuff on here that has definitely been issued in improved sound if they're just using the original CP Records masters. So yeah, it's a "good price", but good value? Not for me, and again, mileages will vary on that.

Bechet box arrived today in fine shape. Appreciate it!

Jim, do you have an Amazon link for this one? These are/were Boris Rose recordings, only once issued "legitimately" on, on the Columbia double LP One Night In Birdland. But they've been booted many, many times on many, many labels and in all the traditional formats. Right now, the only reasonably priced item I see on amazon is this one: http://www.amazon.co...33221107&sr=1-1 Jim, do you have an Amazon link for this one? The material has been released in various forms over the years. I found these on Amazon: http://www.amazon.co.../dp/B00004SD2O/ Fatal flaw on this one if the listing is correct - no "Cool blues". The Proper box I noted above has "Cool Blues" - see disc 3: Is there anything missing from this box that is essential? It's a Proper set, which means you tend to get almost all of a lot of things and everything of nothing. Mileages vary, but for my tastes, I'd just as soon have complete sessions rather than compilations/anthologies/overviews/samplers/whatever, especially when it comes to Bird, and extra especially when it comes to live/bootleg Bird. Again, that's just for my tastes and interests.

Jim, do you have an Amazon link for this one? These are/were Boris Rose recordings, only once issued "legitimately" on, on the Columbia double LP One Night In Birdland. But they've been booted many, many times on many, many labels and in all the traditional formats. Right now, the only reasonably priced item I see on amazon is this one: http://www.amazon.co...33221107&sr=1-1 Jim, do you have an Amazon link for this one? The material has been released in various forms over the years. I found these on Amazon: http://www.amazon.co.../dp/B00004SD2O/ Fatal flaw on this one if the listing is correct - no "Cool blues".

Cup? Hell, it's more like a bowl!

The live date with Bird, Bud, & Blakey, I think that's pretty indispensable.

Pigmeat Markhams's comedy swung more than does most of the jazz of today which claims to swing. It's certainly every bit as musical! As for this box...I've got no more interest in paying money for material that needs to be pitch-corrected. Digital tools make it pretty damn easy and cheap to do, so there's really no longer any "legitimate" excuse for it to not get done,

There's never been a CD reissue of the full Jump Up/What To Do About double LP, has there?

I'd make sure that one of the incidents is the posting of a link here... Here, let me help you with that... http://www.indiegogo.com/RECORDING-PROJECT-WITH-EVERY-MUSICIANS-IN-NYC

Dow got The Ink Spots, Target got the Delta Rhythm Boys. Now who gonna get The Ravens?

Is this a new-new Wayne tune or an old-new Wayne tune?

Yeah, that was a pretty damn delightful package in every regard, Super Chief was.

FWIW - I was one of the original Mosaic customers, somebody who sent money in on the basis of a magazine ad. There was a fairly significant delay in getting the first batch of product out, and LTB was wondering if I had been conned. Fear not, I told her, these are good people doing good work, and if they say they've got good reason for the delay, they've got good reason for the delay. When the BN Monk set finally arrived, she marveled at how exquisite the entire package was, just as I marveled at how thorough the research was and the then-staggering amount of additional, newly available music. All of which to say - when the Hawkins set finally does drop, it will likely be worth every delay that went into it.