JSngry

A Quintessential Professional A Reliable Performer An Adequate Replacement

You're not blocked. Got the email, appreciate it.

I'm just wondering how much "natural curiosity" some of these people would have if they had to be curious on their own dime...

You think that much?

So....forcing reviewers to buy their own copies of new product would probably, what, double sales? Triple? Quadruple? Right? Right?

IAPETUS!!!!!!

Hell hath no fury like a Belieber scorned: http://marquee.blogs.cnn.com/2011/02/14/hell-hath-no-fury-like-a-belieber-scorned/?hpt=C1 Ms. Spaulding is ok with me, and entirely less prefab that the Bieberboy. Between this and Herbie winning album of the year last year(?) it seems like there might be an element within "the academy" that is rebelling against "the industry". If so, anybody got a problem with that? I don't.

Motorhead Sherwood Robin Hood Homeboy

The bass player also plays violin...this is a pretty nice way to do this song...recognize the string parts as an integral part of the overall vibe...still liking The Like...yeah.

McCartney should demand a phone call (at least!) from each of them for making that bridge possible! http://www.youtube.c...2p2nERiNFk&NR=1 Totally out of the loop on this type stuff, but based on this song, I like The Like.

Face To Face is the Dippin' of organ jazz.

http://www.youtube.com/watch?v=lD3U_lXnMqg&feature=related

http://www.youtube.com/watch?v=wupXp7Tlsqg&feature=related

Gomer Pyle Denver Pyle Ernie Pyle

Go for the mono Argos.

Is it too much/too wrong to put early Chet Baker in here as well?

Were the Argo sides available in mono? If so, the quest continues!

Off The Balcony Of Love, that is!

I don't understand what your point is. Moments like that can still happen for individuals (which is all I was talking about, my experience). And yeah, if they are unable to happen at all, then we are all screwed. When imagination can no longer be ignited, the spirit is not in a good place. So where's the hyperbole, and what's the argument? I really don't get it.

No, it happened in 1964, when The Beatles played the Sullivan show. It changed my life, literally, right then and there. I realized almost immediately that what I had known as "is" and what could be "is" were not the same thing, not now. To what extent, I couldn't even begin to have a clue, but the door had been opened, and there lay the road. Stuff that gets inside your head like that when you're 8 tends to be remembered.

I'm talking about my personal reaction, nothing more. Sorry you couldn't have been there to share. It was realty really cool.

This was when dreams became something other than what you had when you fell asleep.

What I think is a valid point is for somebody to say that Artist X "speaks" with a certain "accent" that Listener X may or may not find relevant to their lifestyle. Fair enough. What I think is wholly invalid is to equate one's own set of personal relevance criteria with Absolute Merit. That's just whack, although it often enough feels good at the time. Case in point - somebody disses Paul Desmond for sounding "so white". Well, ok, fair enough (at least at face value), Paul Desmond is speaking with a definite "white" accent, and his content reflects a lot of that. If you don't have a use for that, fine. It's not for me or anybody else to demand that White People be Universally Loved & Respected, and by no means should it be assumed that What White People Have is Something That Everybody Else Wants. It ain't. But to go further than that and say that Paul Desmond "can't play" or "doesn't swing" or by extension of Murray's Law, is inherently inferior because he doesn't "play black" (enough or at all), well, that's imposing absolute criteria on subjective qualities, and really serves to paint the whole dynamic into a corner - the guy would be damned if he tried to "play black" because he can never succeed, and he's also damned for "playing white", because that's what? Not the object of the game? Illegal in 39 states? A Violation of the Twelfth Commandment? What exactly makes being true to yourself a crime in a music where the "stated goal" is (or used to be...) to be true to yourself? Another case in point - all the angry/worried/whatever reaction to any music that attempts to assert an Afro-Centric (in some/any form or fashion) POV. All of the above. Now, having said that...I have no problem with American (and earlier non-American) Jazz being viewed through the prism of being a "Black Music", simply because no matter what and who else went into it at any given time, in the end, ultimately, it was overwhelmingly made & sustained either by or in response to The African-American Experience. And a failure to recognize the multitude of complexities that went into that experience is directly proportionate to how..."wrong" somebody sounds trying to play that music (or in trying to defend/define it...). Note, though, that a part of that complexity - perhaps a huge part - is the lack of an absolute purity (and the frustration that stems from the absolute inability for there to ever be such an absolute purity is just as much a part of that complexity as is anything else, I'm sure). If you want to impose such a purity now, long after the fact of it ever being even remotely possible for more than a relative moment or two, what is the point? What is the goal? What is the end game? BFD - to all of it. Up to and including the introduction of non-"jazz" elements into "jazz" music, be they "classical" or "hip-hop" or "European" or "electronic" or whatever. Just let people be people. Let people make their music. Let them suck and let them soar, whatever they have in them, let them get it out as they feel it. Murray has made a good point in the past as to why he likes what he likes, why he likes it, and why he doesn't like what he doesn't like. Beyond that, though, he is a fool, and like all fools, dangerous to that which he loves.

So what's the end game here?