JSngry

The Dragon CD added a some live concert material (from the same day as the broadcast), with Joe Harris on drums . A Moon CD contained some four tunes from 3/8/59, with LaRocca back on drums. All is dandy. I have the Aix en Provence material (the trio with Klook) on a 1989(!) Royal Jazz CD, and yeah, it's pretty spellbinding. Sonny is just playing, no worries or distractions, at least that I can here. About as "pure" of an example of his playing from the late 50s as can be heard, but I can also hear moments of frustration, like he's wanting to go somewhere that he can't quite get his hands on. The sabbatical makes sense after hearing all this material, but damn, what a way to go out! What's left on this new boot is probably stuff that's been circulating in some fashion, but I've not aggressively pursued it. I expect it to be of lesser sonic quality (or possibly, but not necessarily likely, not even from 1959 at all, the quality standards on boots these days has gone all to hell...), but oh well about that.

Making your music free! That is innovative! Joni Mitchell could write a song about him. Don't know that it's so much "making" it free as it is "allowing" it to be free...a fine line, to be sure...but it's definitely a leap of faith, and it defintely requires integrity on the part of the consumer end (if you get something for free, don't think of it as a gift, think of it as an offering, and find a way to offer something in return, in some form or fashion), but there's a certain grasping of the basic realities of digitality (as it now exists) there that I find to be quite refresh and direct. It's almost like, "if I can't build fences any more, I might as well breed more cattle". To that end, Anthony Braxton is doing something similar but not identical: http://tricentricfoundation.org/ Not sure how that ends up, exactly, but also not sure but that a performer in control of their own music (or wanting to be in control of it) has any real alternative other than confronting the means of distribution head on and establishing their own terms, unless the goal is to only play live and only attract what audience can be attracted by word of mouth. Either that, or else just create entirely for one's own pleasure and not be concerned at all with anybody else sharing in the result.

http://www.m-base.com/give_away.html

We can discuss them, just not link to them, right?

The Modern Drummer interview he did was truly epic. I don't know if you'd need a book after that. But...I'm leaning towards getting this, just to see if it's epicer.

up, to keep it going.

True, but consider the non-fundamentalist Islamic traditions of modesty being applied in a non-repressive way...can you imagine anything sexier, and not in a cheap way, than this? Public modesty in the service of focusing and enhancing one's personal (i.e. - private) sensuality instead of repressing it is a fine thing, and, unfortunately, something that has been all but either discarded or else distorted beyond any healthy use. I do think that our collective discarding of modesty is just as rooted in fear was our embracing of the stifling of sensuality. Both are ways to avoid having to confront the deepest, most intimate aspect of our being. On the one hand, we flaunt it and pass it around, on the other hand, we cover it up and tell ourselves that it's not there. Either way cheapens the fullness of life.

http://kingcakekrypt.blogspot.com/2011/11/my-heart-is-heavy.html

Penthouse Pet Corinne Alphen Ken Wahl

The Home Team The Dream Team A Teeming Multitude

I can only speak in terms of personal experience. It's harmonically clever & pleasantly constructed, hooks everywhere you look, so it's more fun to play than the stuff that is flatlined in those regards. One caveat - it take as a really good singer to sing those songs and not sound strained, and on the circuit where it's likely to get played, there's not nearly enough of those to go around. Yeah, it's got that whole Brian/Carl Wilson White Soul thing going on, of which I am a deep fan.

Unless there's a BIG SALE or something, I just buy stuff when I want it, if the price seems reasonable enough and if I can afford it at the time.

I'm still working on figuring out the Freep Mystique myself.

Oooohhhh....I always liked Hall & Oates, as one-song-at-a-time ear candy anyway. And they were in the forefront of mainstreaming the new keyboard technology (and/or "new wave" sensibility) into the top 40. I call that a blessing and a curse...but it happened. Those turn-of-the-decade hits of theirs really stood out on the radio as "different". That one song..."Your Kiss Is On My Lips"(?), that's just good, timeless, danceable pop for the ages, no matter what instrumentation you have, you can make it work, and work well. Great groove, strong hooks,not musically uninteresting. Too bad they weren't all as good as that.

I still do not have the LP, but have sent you an email through the board.

David Clayton-Thomas was often a very....unsettling vocalist, but - BS&T & had superior, more creative and facile players in every position except guitar (Terry Kath vs Steve Katz is no contest), and possible drums, although Bobby Columby is still one of my most favorite drummers to ever play in a "rock" band, maybe because he playd "rock" dums with as much "jazz mentality" as anybody except early Keith Moon. But the horn writing for BS&T consistently excelled that of Chicago, imo, they just had a more...expansive view of what to do with their horns than Chicago ever dared to even think about. Down side for BS&T - they never really grasped (and apparently didn't want to), the notion of being a "pop band", whereas Chicago seemed to be all about that. So what you end up with as BS&T goes along is quite often great playing and very interesting writing in the service of great playing and very interesting writing, not in the service of making a great organic pop record. But occasionally...

It is a short LP. Dewey Redman Horn Riffs for DJs Vol. 3 Tuff City – Vinyl LP 0588 A-1 REDMAN (PART 1) (3:11) A-2 REDMAN (PART 2) (4:30) A-3 REDMAN (PART 3) (2:45) B-1 REDMAN (PART 4) (3:43) B-2 REDMAN (PART 5) (2:01) B-3 REDMAN (PART 6) (4:50)

Yep!

Junior Cook?

The English is even more cryptic than the German! Code! Vigilance!

Bandaged head!

It'll behoove ya'...

Open The Door, Richard (var) The Doors Of Perception (dave pike) The Door Is Still Open To My Heart (Dean Martin) Behind Closed Doors (C. Rich) The Green Door (Jim Lowe) Next up - LEAVES