JSngry

Am I not asking the question correctly? No, the song isn't featured, thank goodness. Oh. Guess I'll wait for it to come to cable then.

I don't think it's very good either.

Well, the cover works anyway...

Brooks Frank Boog

I sure liked that song. http://www.youtube.com/watch?v=nDhBW597Rx0

Am I not asking the question correctly?

Somewhere there's footage of the Gleason entourage taking the train trip to Miami, accompanied by some balls-out New Orleans-style band. Here's the trip w/o the soundtrack of the band playing: http://www.youtube.com/watch?v=otN66-Mt6HM

All i want to know is if they used the same "True Grit" song as from the old movie or not.

Too bad I don't have the reason to go through Bristol anymore.

The birth of the music itself, or the birth of the recording of it (and of course, all in the music that followed from that)?

Wow...I've been through Bristol countless times & never knew of its importance. I wonder how many of the people who live there now do?

Speaking of Billy May...if you ever get a chance to hear some of the underscoring he did on the old Capitol children's records, avail yourself of the opportunity, by all means!

Or else maybe they don't move that fast after the first wave of sales.

What I'm waiting/hoping for is when it stops being an experiment and begins as something organic. Pretty sure it will happen...almost has to (and in Monday Michiru, it already has, although what if a forest grows and nobody's there to harvest the lumber, does that make it the sound of one hand falling?)...but I don't know if I'll live to see it or not....too much pre-programming in place right now, although the number of "new ears" seems to be growing with time...just not as fast as I would like. Oh well... Until then, the people who ignore both reflexive neophilia & compulsive jazz xenophopia (or at least put up a good fight) are the people I want most to hear these days, wherever they are, whoever they are.

And for me, that's the type of thing I'd like to hear more of - not to "mimic the times" or anything like that, but just to start "jazz musicians" thinking about time in some newer ways that open up the now-pretty-much codified actions and reactions to where we've been for the better part of the 20th Century. A "creative musician" will always find personal openings in the source material, so I'm not looking for "copies" of "modern" beats, not at all. But the shift has to begin somewhere & somehow.... I guess the problem with evolution is that it occurs more quickly in history books than it does in real time...

But platinum became the new gold several decades ago. Or so the credit card companies told me...

There was a time when I would have agreed with this, but a bunch of people have come along for whom "metric complexity" is heard and felt significantly more naturally than it was back in the day when it was pretty much a 4/4, 3/4, or 6/8 jazz word. I attribute that to both the increasing "international" influence and a simple progression of musician's interests. When Don Ellis & Mahavishnu were dealing with all those weirdass time signatures, it was kinda "exotic", but several generations have had that as a part of their baseline musicality and can go there without really having to think about it. In short, I think that any "problem" you might be experiencing in this regard is at least as much yours as it is the music's. And the reason I'm being so blunt is that I come from your generation [EDIT - More from your generation than my own as far as what meter "comfort zones" are hardwired into my brain] and still have a lot of the same issues, especially with playing in that realm. But I've heard it done often enough and well enough (in and out of jazz, as well as in and out of being directly involved in the playing) that my limitations have been presented to me so convincingly that not confronting them as being exactly that - limitations - would be dishonest. None of which goes towards your feelings about Iyler specifically (I dig him very much, myself), just towards the general idea that "metric complexity" is a problem of the music itself. Which is not exactly what you're saying, I know, but still... if one does not allow for the evolution of genuine playing into areas with which one does not feel an intuitive warmth, then whose "problem" is that? Limitations are cool enough, everybody has them and nobody gets everything, I just think that they should be copped to as such as a sign of respect towards those who do not have the same ones we do.

Well then, no, I'm not sure!

What was people's response upon reading it?

No idea if that story about Tristano & the Rhodes & The Supremes is true or not (I'm quite skeptical, but hell, you never know...), but - Tristano did send a letter into Down Beat claiming that Diana Ross was the best jazz singer since Billie Holiday. And it got published, that letter did.

Devil in a Blue Dress The Detroit Wheels Satan in High Heels

Imagine hearing him on electric piano with Ike & Tina Turner. It happened.

Sucks to hear this....RIP.