JSngry

There's also such a thing as cred - people like Chuck have made tangible contributions to the music under discussion here, and those contributions earn respect, which in turn lends cred, which in turn, yeah, gets them more slack cut than some anonymous fan gets. This is the way of the world, the music world in particular. Of course, nobody is under obligation to buy into any of it, and even those who do are free to set limits, but the whole notion that "all members should be viewed equally" flies in the face of the "rules of life" in general. Those who are "proven producers" establish a presence that those who aren't don't automatically have granted to them. In a sense it's a meritocracy, in a sense it's not, but I've yet to go anywhere in life where it doesn't play out.

Hod YOUR Cow Eat The Cabbage?

Really? It sounds to me like a pleasant-enough "response" to the first section of "Happy Go Lucky Local", but not too terribly much else.

Seems odd that all of these are showing up all of a sudden...

Well.......sort of..... http://www.youtube.com/watch?v=6RxuWwSb4lc

That one really bugs me....Kenton's charts on this one are all the same in format, color, voicing, you name it. I really don't think the guy ways any great shakes at anything himself, although he was interested in those who he thought were or could be. Which to me makes him a "figure" a lot more than it does a "musician". If intent and sponsorship is all that is needed to be a "great" or whatever, then Bill Cosby is a jazz great too. But you're right about the tempo thing, the band did have a way of going waaaaaaay slow on ballads. The classic example is "Here's That Rainy Day", which I heard played live a lot slower than the Redlands version, which was already pretty slow.

That's a pretty fucking cool clip.

What's up with brrrrrrrrrrrrrrrp thing. Billy Stewart used it too. Anyway, I had no idea that he was such an icon for the whole Beach Music scene until a few years ago. Apparently he was The God Of Beach Music Guy had a helluva life/career/etc.

When i am, it's in spite of him, not because of him. Case in point... A freakin' beautiful work. Thank you Bill Mathieu.

No, see....that is NOT good news...you want them OUT, on their own, and then you can see them when it's OPTIONAL, not mandatory...

Yep. The New America.

12.86 I rather enjoyed today's game, particularly because, out of necessity, I had to listen to most of it on the radio (road gig, 2.5 hour drive), AM radio at that. Talk about a primal experience on all levels....

After we beat the Rays and got that monkey off our back, I - and many others - were saying that whatever happened against the Yankees would be ok, that just getting to this level was a major milestone for the franchise, and even if we got swept by the Yankees again, that it would be ok. Not as in "oh well!", but as in "let's build from this and keep growing". But to blow that lead the way we did, to just have a complete meltdown comparable to every other mentally dysfunctional Metroplex sports franchise, was painful to watch. These guys, I was hoping, were not the head cases that everybody else was. But there it was. For 1/18 of a game, they were the old Rangers, the Cowboys, and the Mavericks all rolled into one. And 1/18 of a game was all it took. Hopefully the guys will remember how this felt, and hopefully they will resolve to never feel that way again. If they lose the series, they lose it. I was expecting them to, to be honest. But dammit, lose it honestly, don't just give shit away. Lose with pride, not shame. Time will tell.

Yeah, Nance played both on the original. I've got a soft spot for the vocal versions of the tune, Betty Roche's on Uptown, of course, but really for the Ray Nance vocal on All Star Road Band. Totally spontaneous, it seems like, the band finishes the instrumental chart, and then Duke announces that Ray will now favor us with a vocal version, calls the key, and off we go, with Ray as hip and in the groove as he always was. I'm a big Ray Nace fan myself, the guy was always in there. That whole All Star Road Band album is a treat, as is Volume 2 (from a different date). amazing documents, really, of the band live and not in a "concert" setting. You can hear band conversations during tunes and stuff like that, plus the band itself is in prime "ragged but right" form on both occasions. "A Train" is another one of those things that has been overplayed as a blowing tune, but is still a marvelous orchestral creation. So many colors and textures in what, less than three minutes?.

That one hurt.

Because according to impossible, he's got your number!

Expect a call!

Oh, I agree with that 100%. But we all make choices in this life, ya' know, and that's been one of mine.

Not safe from drug trafficking...not safe from gonzo cops in SUVs handing out speeding tickets like they were after-dinner mints...not safe from institutionalized, if subtle, Republicanism in the schools... Still, all in all, a "nice" enough place to live. If you want the thrill of the urban lifestyle, it's just a few minutes away, and if you want the excitement of street crime, same thing. The one thing I do like about Plano is that it is rapidly becoming an extremely culturally diverse town. There's a lot of "second-generation" children of immigrants who are coming here to pursue a quiet, middle-class American lifestyle, and they're bringing with them their clothes, food, languages, and business acumen. If you want to see what "the new America" is going to look like in about 50 years (unless the teabaggers take over), this is it.

You like Jill Scott better? Ledesi? Kem? Or are you talking about that old soul music that sprang from a time and a place and a social dynamic that really doesn't exist any more? There ain't bonna be no more of that. As a "retro" act, and nothing else, you can cetainly question the Jones/DapTones. But oddly enough, they've become part of the contemporary pop music palate, which makes it something else altogether different than "just" a retro act. I'm hearing their shit played in dance mixes, alt-rock mixes, all kinds of weird places. It's the kind of world my folks did not - could not -get their heads around, how what used to mean this now means that. And it keeps on going. Simply means putting forth "nice" "middle class" visions as the ideal instead of an ideal.

Now, if you want to save people from themselves, put out a hit on these whiny-ass crapatoons and the yahoos who think they're something there that's got more nutritious than a thimbleful of kitten puke. http://www.youtube.c...h?v=_ujF2sZP8O0 Yeah motherfuckers, we got THIS shit for ALL TIME. Bring on the death! HURRY!

http://www.youtube.c...h?v=MoOGIOQbdPA http://www.youtube.com/watch?v=N8AEou1mAoM I fail to sense an inherent, non-romanticized "superiority" in either. They both do their thing in their place for their own, but other than that, hey I got ALL TIME & I'll take what I want when I want it, period.

Seems to me that if I live in ALL TIMES that Pha Terrell only matters more than Miles if Pha Terrell has what I'm looking for at any given moment. It also seems that if I live in ALL TIMES that there might be something in that Daptone bag that speaks of today simply be being of today in today, and if that's the case, and if that's what I'm wanting at any one minute or two out of ALL TIME that I'd be a damn fool to not check it out and work myself up into loose-bowels attack about how could I be such a fool, I could be listening to Pha Terrell for half an hour unstead of Sharon Jones, hell, I can feel the joy just stampeding to make its way out of me, but then thank god the record's over and I can go back in the house and put on some Pha Terrell and pray for the salvation of my poor weak soul. Seriously? I love it how you're trying to "expand the continuum" by beating back the present. And yet we're touting the Fisk Jubille singers, who inspired Miles' mom to insist that he attend that august institution, and a whole "vibe" that I think was perhaps one of the ground-stones for Marsailisism. ALL TIME should make you free, not all paranoid and stoopid and shit. Branford = Sal Nistico - a full-bodied jazz scene in which to apprentice + residual cultural aspirations no doubt fuelled directly or indirectly by Fiskotosis * Branford >>>>>>>>>more prepared to live in his world than Sal Nestico was in his. And Pha Terrell=Sharon Jones + 21st Century reality - 20th Century necessities./the power of two entirely necessarily differently necessary cult audiences. The next time anybody hocks a loogie on "black middle class values" I wanna see how quick come the Crisco gets when the talk turns to Fisko. This is all silly, ya' know. All of. The thought that any of this old shit actually MATTERS TODAY AND BEYOND as anything too much other than one more category of individual cutural signifier. Like we don't have enough already. Ain't nothing new, ain't nothing old. But there is NOW and there is THEN. and ther's too damn much math for none of it combined. I have to wonder why you are so desperate to "find" your life...has it not yet found you?

Oh, so it comes down to projecting one's self into A Dead Negro Fantasy Involving Sex. Again. Or some other Dead "Other" Fantasy Involving Sex. Again. Nothing that can't and doesn't happen anytime there's a scene of anybodies doing anythings. I imagine there's been quite a bit of that in Daptone Land. So far, nothing but eternal = = = = = = = = = = = =