JSngry

Greatest....website....ever....

Definitely. Just that there's a malevolence at play in the whole movement to reduce eliminate "arts education" from the public schools here in America that is very much of a piece with the other malevolences at play, and too many of the people who uncritically "support" it all are really, really...unhappy with the inevitable results. Well, DUH!

Torx screwdrivers & an allen wrench set...own them or be ready to pay bills to people who do.

And inevitably...this devolves into "just because I hate the noise that pretends to be music known as rap doesn't meant that I hate black people, or even Ghetto Negroes, and how dare you say that I do!?!?!?!?!?!?!" and...no it doesn't necessarily mean that, not at all. But I do posit that there is a "general" level of "discomfort" present that is just not being owned up to, a discomfort that would at least have the possibility of having some basis in rationality if it was fessed up to up front, but...it isn't. I mean, I'm extremely uncomfortable with the notion of being dropped of in a known "drug neighborhood" (be it ghetto crack or trailer-park crystal meth or backwoods moonshine) and being left to fend for myself, I mean, that is rational. But an automatic recoil at a black teenager playing loud bass-heavy music and being all blinged out just because they are a black teenager playing loud bass-heavy music and being all blinged out is so not rational. Fear and loathing in America...it's not just for Gonzos any more, it's for ANY damn fool!

Yeah, in my experience, the Torx screws first started showing up on cars, and at first only mechanics had the screwdrivers. But that soon changed. The screws are still not exactly "common", but they're common enough that I got a set of screwdrivers at least 10 years ago and have used them at least twice since!

You're seriously misreading my intent! The target(s) of my comments are those who constantly bemoan the disappearance of "real music" in the wake of hip-hop. My point is that hip-hop as a whole is exactly an expression of a specific culture's creative energy rooted in a particular time and place which btw coincided with the all-but-disappearance of institutionalized music instruction within that culture's immediate availability. I'm not saying that something similar would not have happened anyway, it almost had to, really, but it might well have taken a somewhat different form if "traditional" musical rules were still in general circulation. Different in no way implies "better". What I get really tired of is all the middle-aged white folk who reflexively go off on hip-hop as anti-music, anti-this, anti-that, anti-everything, w/o displaying even half a clue about how it happened, why it happened, and, even if they would have liked it if it had somehow taken a different form, why it would have been all but impossible for it to take a different form. It's like, hey, this is the reality, if you don't like the reality, what are you doing to improve it, or are you instead just hoping that it all goes away, one way or another, up to and including the extinction of the people whose reality it is? Of course it's big business now, and of course it's multi-generational and multi-layered now, and of course by now there's a lot of unreality in the reality (which there has to be for there to be big business around & about it), but...to reflexively hate a people's expression w/o displaying any discernment whatsoever is pretty much to hate the people themselves, and yeah, there is a lot of hate in America right now, and no, ain't nobody got to "love" hip-hop in any way shape or form, but hate will kill you over the long haul, and damned if I want to go down with somebody else's ship, but also damned if the fools want to give that even half a rat's ass worth of consideration.

Those six-point screw are called Torx screws, and screwdrivers for them should be readily available at not much cost. http://www.google.com/products/catalog?hl=en&q=torx+screwdriver&um=1&biw=1680&bih=869&ie=UTF-8&cid=5945638395268119801&ei=C5WfTMTKG4a8lQea0qmODg&sa=X&oi=product_catalog_result&ct=image&resnum=4&ved=0CDsQ8gIwAw#

American public schools had an ongoing practice spanning several generations of providing instrumental musical instruction for all students, with many school systems even providing instruments at no cost to the students. That practice began to deteriorate in the early-mid 1970s, expense being given as the reason (and rightly so) but a view of humanity that devalues exposure to "the arts" as a beneficial force for all gleefully making the big push, and the inner-city schools were among the first to be impacted. No, inner-city American youth weren't "compelled" to take up turntables and such, but it became a much more practical outlet, as did the focus away from "trained" musical practices. No band, no orchestra, no instruments provided, hey - to where and to what do you turn if you want to make music? And what "musical rules" do you follow when there's really nobody to teach you any? I'm sure that West African youth have their own stories to tell, but theirs is not the story of how hip-hop took root in inner-city America and never let up.

I developed an affection for Collette's playing within the first year of my exposure to jazz, thanks to a budget-bin finding of the late 60s reissue of the first Chico quintet album (it was entitled Spectacular, and it sure struck me as such!). I was 14 or 15, lived in a small town in Texas, and had a band director who used to be a gigging musician in the LA area for a little while. I asked him if he knew these guys and how to get in touch with them, to which he relied, "No, but if you write Local 47, they'll send you a directory...". So I wrote Local 47...didn't even have an address, but my dad said don't worry about that, because the Post Office would definitely see to it that anything involving a union would get delivered - and in this case, anyway, he was right, because I got my directory, and...WHOA...names, addresses, phone numbers, everything right there. So I wrote separate - and incredibly naive - letters to Frank Zappa & Buddy Collete saying "hi" & that I was a high school freshman in Gladewater, Texas, that I was interested in learning about the specifics of their music, and asking if they had "arrangements that I could study" of "Who Needs The Peace Corps?", "Buddy Boo", * "A Nice Day". Zappa,s office sent back a photocopied rudimentary lead sheet of his tune, and Buddy Collete sent back a very nice letter explaining that "Buddy Boo" was just a head chart blues & that, sorry, he no longer had the parts for "A Nice Day", but that it would benefit me as a musician to use my ears and learn the parts from the record, that this was something that was an essential part of becoming a good musician, something he himself had done over and over as a kid my age, thanking me for appreciating his work, and wishing me nothing but the best in my pursuit of music. He also enclosed a press release announcing his being named to a position at some L.A. college as a director of some kind of program and autographed it "To Jim, Good Luck In Music, Buddy Collette". It probably took him no more than five minutes to do the whole thing, but it was (and remains) an awesomely....personal gesture where none was even remotely necessary. Of course, I didn't realize that then, I mean, I was from a small town where "friendliness" wasn't just the norm, it was expected, but...the guy didn't even have to respond, ya know? But he did, and he bothered to put a little "personal touch" in there, like he knew that it would mean something for a kid in BFE Texas - and he was right. Also mentioned in that press release - some of you fellow old folk might remember a commercial for AT&T back in the early 70s that showed a "professor" welcoming his class, only his class was all over the country, and he was teaching it over AT& T phone lines. Well, that "professor" was played by none other than Buddy Collette. Who knew? I got real lucky a few years ago and found a copy of Mr. Collette's A Jazz Audio Biography http://www.allmusic....10:apftxqlhldte It's a spellbinding document, I think, and should not be allowed to start off in obscurity and fall furhter therein as currently appears its fate. Look for it, and carpe diem should you find it. R.I.P., Buddy Collette, and thank you, more than you know.

I can't help but notice that everybody save Grimes & Murray were wearing ties (and Grimes was wearing a jacket)...the rapidly appraoching end of an era...

They've never had instrumental music programs in urban schools in West Africa. And the governments that sponsored bands in the sixties and seventies fell to the World Bank. Most of the bands are young, not old guys (though there are some of them still about). I'd think that your argument was special pleading, but I know you're not in the jazz education biz. MG Point being simply that there was a fundamental change in the "tools" that were widely/generally available to the inner-city American youth, but not a correlative diminishing of creative energy or impulse. So instead of saxophones and trumpets, you get people starting to work with records and turntables, and practicing rhymes and flow instead of scales and arpeggios.

And I am not saying that hip-hop = underground, but rather that there is a "hip-hop underground", which foes indeed go towards how large the "movement" has become over the last 30 or so years, that it contains "strata", if you will. 30 years, by the way....when rock was 30 years old, it was 1985-86. Was anybody still arguing the lasting impact of rock in 1986? 30 years ago.. http://www.youtube.com/watch?v=PBgvwO-i6ls

Mercy The Buckinghams http://www.youtube.c...h?v=a9YamMiqQ0I

isn't this dubstep? I don't know the terms...Afronaught is part of Bugz In The Attic, usually associated with "broken-beat", Afronaught has got some cool stuff going on...this one reminds me of Miles...

Sir Francis Hibuttons of Coryo tilst Haberbaum Field-Major Daryrl Saint Boes Prime Chancellor to His Massive Constancy Handling Propper

Ahhhhh. Meatloaf. Oh, I could tell you stories...

Well, put the needle in the groove, at least... Your information is no doubt correct, and I gladly stand corrected on the existence of a "lock groove", but I would not wager that it is consistent. I have had records where the stylus bumps up against the label. So either the lock groove was not placed on the record or else that it was covered by the label through sloppy manufacturing. I have bought some pretty, uh...."budget" product over the years.... Now, at this time of the day, if we're going to put anything on the table, let's make it meat loaf. That sounds pretty good right about now.

1...

Just listened to my copy and it was stick-freer, although it sounds like they used cardboard in the vinyl.

If anything, they can be too "upfront", dry and non-reverby, but I suspect that's recording/mixing more than anything having a cold.

Just curious -- why do you think that all of the segment that you find vital, creative, and interesting exists underground? Why does the larger community that must in some way give (and/or have given) rise to this segment of the music not have enough of a taste for this segment to make it a popular, above-ground thing? Where's the disconnect, if that's the way to put it? Why do I think it? Because that's where I find it. Thanks to the internet, all you need are a few good pointers as to where to begin, a "go from here to here" sensibility (like you and I both probably used when we first started discovering jazz), and no compunctions against downloading podcasts and other free offerings of the music. Where's the disconnect? Two reasons, imo - To be blunt, this is the most mass-media-controlled time I've ever lived in, even with things crumbling around us as we speak. A good parallel might be movies in the early-mid 1950s (I wasn't born until 1955, so this is just a guess). The studio system was crumbling, but that's still where "everybody" looked for product. Same thing with music today - between the various entertainment programs, video saturation outlets, and the consolidation of broadcast outlets into a relatively few hands, this shit is as tightly controlled as it can be, and not just in this genre, either.To be equally blunt, "popular taste" is about as dedicated to enthusiastic superficiality than I've ever seen it - and that's saying a lot. As with anything "underground", the real "art" in the "hip-hop culture" that I've come across (and I can't stress enough how not "plugged in" to this scene - underground and otherwise - I am. I just get exposed to it through the young-ish (i.e. - under-35, more or less) people in my life, of which right now there are quite a few) is tinged with an ambivalent melancholy that is quite antithetical to to the stereotypical uber-bravado of the cliche that the media plays to - and that the general public so willingly buys. In short - people are in denial. All kinds of people are in all kinds of denial. So has it ever been, but face it - the world is tumbling down, and not just everybody is ready, or will ever be read, to accept that and proceed constructively anyway.The good news is that yeah, the industry is crumbling, and yeah, the "underground" is a lot more readily available, thanks to digital media and the propagation thereof. But yeah, you know it and I know it - at the end of the day, serious anything is always going to be a minority taste. Not only do you not know what it is, you don't even know that there's something been happening here, do you, Mr. Jones? http://www.youtube.c...feature=related Sorry - Throwing out a cheap shot at someone & posting a You Tube link as a supposed backup to it doesn't cut it for me. I'll remember that the next time I have something to say directly to you. I assumed that if you were saying something only and directly to It Should be You, you would have sent him a PM. Since you posted it on one of the Forums, it becomes fodder for comment. Isn't that how things work here? Directly to, but not only to. Like I said - duly noted and filed away for when/if needed. Yep - house & hip-hop intersect at the DJ and have had considerable overlap in that regard. DJ Spinna- house, hip-hop, or both? Another, crucial factor in all this evolution that cannot be overlooked is the decimation of instrumental music programs in urban schools, especially in the "inner-city".

Yeah, but do have this version? Its adds 4 seconds of Cannonball taking in a deep breath to the opening of "Wabash"; unavailable on any other issue, as are the Orrin Keepnews annotations on that same 4 seconds (1 page per second, BTW). That's the Limelight cover, and yeah, I have it. Can't say that I've noticed the extra breath though.... There are plenty more covers to waste your money on: Those covers are...no, I have what I need now. But wtf kind of a label was/is Suite Beat?

What kind of a "toolbar" is it? Sometimes a toolbar that behaves like that is an indicator of spyware.

If he wasn't, I wasted money getting an original Mercury cover to supplement my Limelight reissue which supplemented by Everest Archive Of Jazz And Folk Music copy of almost the whole album.