JSngry

Not my photo, they're aloc's. I wish I could take pictures that consistently evocative. Somewhat regularly visiting the approximate part of the country where thise pictures are taken, I know how true they speak.

Dilla & 50 Cent are as different as Kenny Dorham & 50 Cent.

Are these lights on because production is still going on? What kind of a factory/plant is this?

BINGO!!! we have a winner... Setting the agenda about yourself is (potentially) about far more than just "marketing", though.

If you have to ask... ...use the internet. It's one sign sign of an actively curious mind.

Is that pitch even legal in America?

Finally, somebody who says "I don't have a real frame of reference to seriously judge this thing by, so I won't". Thank you, sir! Portions of the samples (and I can still be persuaded to buy this thing...) remind me of among other things, early acid-jazz era Monday Michiru and/or, believe it or not, 80s Wayne Shorter (melodic/harmonic bits here and there). But we're still talking 20-25 year old reference points, so the only thing "radical" about this album is that a "jazz musician" did it. The drums and/or drum programming sounds pretty basic, really, in terms of timbre. And I wish that Saunders Sermons sang more than just the one(?) song. I'd like to hear more Saunders Sermons, please.. One thing's for sure though - In principle, I'm much more interested in hearing somebody explore these rhythms, these textures, these notions of what makes up a "song" than I am in hearing yet another trotting out of ching-chinga-ching or any of its mutations played by the same-old same-old "instrumentation" (which inevitably produces the same-old-same old textures), playing (or even worse, "re-imagining") the same old vocabularies. Of course, the final say is how well do you do what it is you're doing. Something tells me that Payton's album in toto is going to be frustratingly stunted, half-frormed good ideas not executed to the fullest extent possible given the available technologies, the work of somebody who's admired this type of music more than actually been involved in it enough to fully grasp the subtlties of both the music and the technology (not for nothing did Miles work with Marcus Miller...) But that's not something about which I can be sure until I hear the whole album, and I don't yet know if I want to hear the whole album. But dammit, I do give the guy credit for trying, and I even give him credit for his confrontational defiance in doing so. No matter how many or how much stupid he's been spewing (and it'a a lot, a massive lot), the basic point that "jazz" has become a pigeonhole that limits the marketplace (creatively and otherwise) for those who call themselves that is a very, very true notion. I might yet just go ahead and put some money in the dude's pocket, just as a market-based flip of the bird the people who can't tell a well-programmed drum machine from a badly programmed one and who reflexively sputter and spit DRUM MACHINE....AAAAARGH....SPITTT....SUCKS....STUPID....SUCKS....

Who? :ph34r:

Contrast and compare: http://www.discogs.c.../release/468942 http://www.discogs.c...release/2956172 http://www.discogs.c.../release/602659 For further research: http://www.discogs.c...+Winley+Records http://en.wikipedia..../Winley_Records

Let's put the question this way - how many physical production-based businesses period have safety regulations in place that go above-and-beyond those which they absolutely are forced to have?

I listened to the samples too, but I didn't really hear much that I liked. (my opinion has nothing to do with all this recent hubbub (I've been a fan of his for a long time), it just didn't interest me). YMMV. The singing (other than that by Saunders Sermons, whose solo CD of a few years ago keeps getting played here in spite of (or quite possibly because of) it being a "small" project in every way) left me cold, but I liked the rhythms & the keyboard textures. Also heard some pretty interesting melodic/harmonic contours in some of those samples. Of course, 29 second samples don't really tell you much, but I heard enough that sounded interesting enough that in a weak moment, I might go ahead and pick it up. Other than as part of the ongoing post-Wynton spectacle, oh hell no.

I listened to the samples and am actually considering a purchase. I like what it sounds like he's trying to do.

No -- my account of Wynton and the J@LC B.S. in my book "Jazz In Search of Itself" is the best thing that's ever been written or ever will be written on this topic. I defy anyone to say otherwise, and they're liars if they do. In fact, I'll hunt them down, f--- their wives, and eat their children. Sorry, but "best ever and "best in years" are not mutually exclusive. Payton's line about the soda pop is priceless! C'mon in for the wife and kids, but, just remember - you'll be in Texas, and you know we're all crazy gun freaks down here, wives and kids included.

Wow. What an asshole. So should the baseball writers take away Braun's 2011 MVP award?? My gut says yes, but I wonder if doing so that it would create more of a problem then already exists. I'm also hearing that the testing process mandates splitting a sample in two and then take testing each half separately to protect against a false positive, and that Braun's other half came back negative. If this is true, ESPN reported prematurely and extremely irresponsibly.

I think he's being intentionally provocative, but I really don't think he understands the depth of what he's dealing with, the width and breadth of the whole "colonial" mentality. It's not just black folks and it's not just jazz that are affected. As far as the ODJB/theft issue goes realative to the entire "black music" thing, Payton has referred to them as a blackface version of black New Orleans music, so looking for an "exact copy" to prove theft is to miss the point. He's talking about the attitude behind the music, and as much as he's simplifying (which is a lot), he's also not wrong, either. The thing that makes all this so traci-comic is, again, that all this had been sorted out by the pre-Wynton players, the ones he threw under the bus/rug as not being "real" jazz. Now Paytin's busting on Wynton (see above, please, that's the best thing I've read about the JALC bullshit in years) with rhoetoric from 1957 or something. The whole thing is like fishing for years in a lake with just one fish in it. You keep catching the same fish and yeah, it changes over the years, but it's still the same damn fish. At some point, there's other lakes with more/different fish in them, so just...catch that one fish, filet it, eat it, and then go on to another gahddam lake, all right?

He just needs to figure some stuff out that's already been figured out. I suggest he go talk to George Lewis and/or Anthony Braxton.

Ed Wood Richard Roundtree Helen Forrest

Leading off with "Blue 7"? Works for me!

Yes, hubris vs hubris. That would be part of the ramble, and also part of the reason why his mission against colonial mentality will ultimately fail. He's a practitioner as well as a victim.

I found this to be of some, slight clarifying interest: http://nicholaspayton.wordpress.com/2011/12/05/on-why-i-keep-beating-this-racist-horse/ A lot of ramble, but not without some truth as well. Payton is surely correct that America is still operating under a colonialist mentality. But if thinks it's just black people and black music that is affected, he's too blind to do anybody any good, especially that of his own interest which he seeks to liberate.