JSngry

The phrasing reminds me so much of Miles....

Even if he didn't write the lyrics, he sang them in a way that pretty much defines what the lyrics mean. Fragility definitely is there. Of what, hey, who knows for sure, but most people that age are all about invincibility, not fragility.

One underestimates the innate/intuitive deep sensitivity of Brian at one's one peril.

Thank you!

Short term, yeah, but any objective evaluation of the man's career (which will in time be possible) will show one helluva player pre-steroid use, which really makes the juicing all the more unfortunate in my mind.

Look at all the albums that these two labels put out...one after the other...and these box sets are barely scratching the surface of their total output...and yet, this stuff was hard as hell to get in many parts of the US for quite a while, which maybe created a really distorted picture of what all was going on in the music at the time, which then allowed for all sorts of distorted concepts of problems P& solutions...too bad.

Any idea of the personnel for the Elliot Lawrence material?

Steve Douglas Uncle Charlie Bub

Now that just fucks me up. Whoa!

Geez, I'm later than late, too late, really...so sorry...but generosity abused is hopefully still better than generosity ignored, so let's get, uh..."busy"? TRACK ONE - Hell yeah! I like this one a lot. "Commercial"? Maybe, but not really, too much variety and unpredictability in the form, and besides, it's got a really nice swinging sway to it. Maybe a "latin jazz" date of sorts? No matter - real playing all the way around. No holding back on the solos, everybody is in there for real. The percussion makes a meaningful contribution as well. It's not just there for "color". The pianist sounds familiar too (as does the tune?)...somebody w/firm "Latin" roots. All in all, I don't think you could get anything like this to be any better than this w/o crossing over into the Total Magic Zone. TRACK TWO - Joanne Brackeen? She always sounds to me like she's fidgeting because she has to go pee. I like this well enough, but at my age, I'm kinda like, geez, if you gotta pee, just get up and go pee. Holding it in ends up being a loser on the sacrifice/benefit scale. TRACK THREE - Geez, that sounds like Colin Nancarrow chanelling Albert Ammons or some such! TRACK FOUR - Louis, right? Geez, his sense of time, his knowing where the pulse was allowed him to push and pull the way that only a very rare handful of people ever have been able to do. And that's really what the music of the African Diaspora brought to the "new world" - new possibilities of where "is" really is, be it in pitch, or tone, or time...espcecially in time, because all we can perceive is what is there in our own time zone, our own vibrational spectrum. So you open up the possibilities of awareness of possibilities, and you open up what else you can be aware of, and then hopefully you embrace it rather than run away from it, and you become more one with the ultimate One, which is really all there is anyway, so...the jokes on you if you try to go anywhere else, right? TRACK FIVE - Remember Joanne Castle on the Lawrence Welk show? How she would always turn her head to the camera and smile this weird smile that was unlike any other smile on that show because it looked like she was actually working while she was smiling? Well, this is definitely not Joanne Castle, but I couldn't help but keep thinking how much even more cool that smile would have come across if she had been playing something like this. TRACK SIX - That opening lick is "mmm, mmm, good" from the Campbell Soup commercials. The rest of the performance, it sounds like a vintage RVG piano sound, so that should and probably does narrow it down, but I'm late enough as it is...those drums (Max? No...) definitely sound RVG to me...no idea, but this is pretty delightfully original for being a 2:44 trombone quartet record made by somebody who most likely was surrounded by a whole orthodoxy which is so at once referenced and ignored here. Kudos! TRACK SEVEN - No idea, other than it's got that 70s indie label (i.e. - Strata-East) feel that so many miss, even people weren't there the first time it...there was a certain "populist" flavor to so much of this music that was real, not forced, people usually get that and respond favorably to it... Hey, that tenor player is really speaking the language! Love it! No real idea, but...YEAH! TRACK EIGHT - "Bye Ya'", of course. It maybe went on a little too long, I mean, a bunch of really solid ideas is never an adequate substitute for just one or two great ones, but on the whole, I heard what they were going for & feel that they were there often enough to make me not unhappy with staying the course with them. But truthfully, the opening to the first head was all that really needed to be said. 1:28 of perfection? Not long enough? Bullshit. It is what it is, leave it be, ok? TRACK NINE - I have totally unexplainable issues with "Old Man River"...always have, probably always will. No idea why, but...just do. Sorry, but nothing here fixes that. Was this taped off a TV show? TRACK TEN - There's a fair amount of Shirley Horn in the timbre of the voice, an overt Lee/Blake feel to the arrangement, and a certain amount of self-consciousness in the whole thing, but I like it anyway. Go figure. TRACK ELEVEN - Earl Hines on piano? Dickie Wells? Jean Luc Ponty? Chords sound like "You're Driving Me Crazy"...man does this SWING. Would've love to have been around to have heard it live, you know there was some air being moved in front of that bandstand! TRACK TWELVE - Not really sure who, what, or why. Fine playing all around, but...no context for it, not that I can hear. But that's just me. TRACK THIRTEEN - Context aplenty here, and all the more better for it! I love how you got a constant straight-eighth beat, which is normally a setup for a very symmetrical structure, bu here you got an overall 14 beat structure, which is, like 3 1/2 bars instead of 4, so there goes that, but yet it still bears the comfort of symmetry. Neat! No idea who it might be...after the whole Brotherhood of Breath thing last BFT, there's a whole orb that I know next to nothing about, and this might be from there. No matter, I like it! TRACK FOURTEEN - Pharoah? The tune sounds really familiar, but may not actually be familiar, if you know what I mean. Pharoah is a master saxophonist, period. Anybody who plays the instrument can learn something from listening to him. And if this isn't Pharoah, it sounds like somebody of about the same age and wisdom level, so say that about them too. Really, really sorry to be too late, but, you know....life, and all that. But still.... Anyway, thanks for sharing. Some very good stuff here.

Yeah, the concept of Mark Cuban is a lot more appealing than the eventual reality of Mark Cuban, trust me.

Sherman Potter Mister Peabody The NBC Peacock

Well, irregardless of all dat/that, if your point is anything other than that their may not be a legally provable case that Bonds took steroyds, I have no idea what your point might be then, so I'll see you at the ballpark, if only in my dreams, because as much as I'd like to see SF one of these daze, it just ain't in the budget right now, but not in this thread any more, because to claim that, provable or not, Bonds was not juicing is just wack and/or whack.

And you've never heard the term "my girl" used in a non-romantic manner? I find that hard to believe, unless everybody you know that is under 40 was also raised in Pleasantville... Hell, almost everybody I know is under 40. Most people my age don't leave the house any more unless it's to go to a job where they get left alone by people under 40. The term "my girl" has always meant a romantic involvement...since time began, for pete's sake. There have been song lyrics, a song, poetry and fiction with that term meaning just exactly that. You never heard of the Temptations? Sheesh. My Girl That's a nice group. Do they have any other records? And what I said was that "my girl" does not only signify a romantic involvement. It's actually pretty common these days for it to not. Do you know anybody under 40? And if so, do they go around jamming The Temptations all day? I know hundreds of people under 40. You? They dig the hell out of [late 60s] 70s music, too. And I didn't say "only" either. Oh, so you're pseudo-arguing against a point with which you do not disagree. In order to, what...deflect energy away from the obvious primary point (that Bonds was on steroids, irregardless of whether or not it can be "legally" proved)? Mr. Weizen, have you been taking on students for supplemental income?

The term "my girl" has always meant a romantic involvement...since time began, for pete's sake. There have been song lyrics, a song, poetry and fiction with that term meaning just exactly that. You never heard of the Temptations? Sheesh. My Girl That's a nice group. Do they have any other records? And what I said was that "my girl" does not only signify a romantic involvement. It's actually pretty common these days for it to not. Do you know anybody under 40? And if so, do they go around jamming The Temptations all day?

My uncle, Doyle Freeman Another uncle of mine, Vernon Fritz Still another uncle of mine, Robert Keagle (bonus points for anybody who avoids a Tati reference in the next post!)

"She's my girl" can and often does mean nothing more than "she's on my side", "she's got my back", "she'll always be there for me", etc. Under no circumstances should it be assumed to be a statement of romantic involvement. Geez, just how white are you guys? JUST KIDDING!

That's why very few musicians (jazz or otherwise) should try to be leaders on an ongoing, financially sustainable public basis. Not only is too much of today's "jazz" being made by ensembles of players who all sound like competent, or even better, sidemen, do any of thees guys/gals have any kind of a distinguishable trait other than being a "fine jazz musician"? Any kind of a movement has to have movers, and that means leaders, not just good-or-better soldiers. And being a leader means being somebody that others can/will follow, which means having something distinctive so people can distinguish you from every other face in the crowd. Find the people that will follow you and give them what it is that they follow you for. If you ain't got that "thing", find a compatible leader(s) who does and work that horse until it drops. If that don't work, hey, like Brian said, "I Guess I Just Wasn't Made For These Times". It happens.

Ya' know, this whole "how do we get more people to listen to jazz" shit is really getting old and tired. Take that back - it's not getting to be old and tired, it is old and tired. Like the music itself, if you have to ask... Really, it's 2011, not 1961. The music as it has existed is now and will forevermore be a fringe music. Find where the fringe that fits your particular genre lives and give them what they want. Whatever "new" is happening in the music has the blessing/curse of being made in a time when the apetite for pushing the boundaries/breaking new ground/whatever is pretty much popularly limited to things technological. So again, find where your personal fringe is and give them what they want. If you're one of the lucky ones who can naturally interact with the technology (musical & otherwise) to make music that moves everything ahead, hey, this is your time, like it used to be "jazz"'s. Carpe fucking diem, and please make sure I get a copy of your stuff, please. Other than that, if the question is "I want to Play X but the public wants Z, how can I make them want X?", then that's really nothing more than a really...sweet way of saying "fuck the audience". There was another one where, when the subject of about 75% of the audience getting up to leave early on inthe show was raised, he replied, "Fuck them - I play for the 25% who stayed." Seems like a fair enough compromise to me. Hey.

If you want people to listen, play what people will listen to.

Wrong about what? Really?

http://articles.nydailynews.com/2011-03-25/local/29358624_1_abiodun-oyewole-umar-bin-hassan-arts-education

Not having a case and actually being wrong are not the same thing.

Wonder what happened?

Kenny Burrell Johnny Griffin Count Basie