JSngry

Ernie Banks The Doublemint Twins Marshall Field

Hunter Captured By The Game? If the medium truly is the message, maybe the best thing for a still-pliable spirit to do is figure out how to work the medium to best convey the message. If that can't be done, then perhaps the messenger has become ensnared by the medium more than by the message. An Honorable Discharge At The Fork In The Road Of course, people who have mastered a previous message and its medium should not have to worry about this, their value having long been established. But for the rest of us, as society moves along and takes us with it, it is likely to prove more useful to look to grasp these artists' substance than it is their style.

Indeed, very much of the (then) Gene Ammons/Tom Archia bag, which is definitely cool, but then the shtick comes in and he goes there so easily and....enthusiastically that I wonder if maybe it was all shtick to him...we got a guy like that around here (I'm sure there's a guy like that everywhere...), learned all the hip licks and all the corny ones, learned everything, really, and puts them all together in such a way that just when you're ready to think that this guy's pretty happening, he'll veer off and make you want to vomit on his highly-shines shoes, and get some on his highly starched tux shirt just for good measure (especially if you've eaten Indian food and you know there's gonna be plenty of turmeric in there). But he can definitely play the instrument, and he definitely is a real crowd pleaser, so...it is what it is, ya' know? But it looks like this guy, Gerald Brashear, hung around Seattle and was an institution there: http://en.wikipedia.org/wiki/Gerald_Brashear

So...they (BS&T) have reformed again? Oh my yes - they're booked for the whole year! http://www.bloodsweatandtears.com/tour.html From: http://www.bloodsweatandtears.com/bio.html

I can also say that this new Incognito album is mostly pretty damn good too. Here's a representatiive sample: http://www.youtube.com/watch?v=FCKHhSxuvro

I hear ya', but to me, he sounds like Sam Butera probably sounds to people who don't like Sam Butera.

Many of them Prestige sides by Miles or Trane...

Yeah, vaudebop, that works for me.

Indeed, but file under Cover Photo Not In Chronological Sync With Musical Contents...

I've heard this and it didn't do too much for me...way too much "go man go"-type playing, if that makes any sense.

http://www.youtube.com/watch?v=MOdYxpj1kiA

Let's talk evolution (if 1998 counts as such...)

I probably would too...that's why I'm kinda pissed that it doesn't appear to have been blogged yet...

Well, I don't necessarily equate "historical document" with "historical musical document"...just saying that there was this whole NYC (mostly) White/Jewish post-Trane loft scen going in and around the then-Miles band orb, and that Circle wove its way out of that environment. The unedited Miles Fillmore sessions give a tste of it, but definitely through Miles' lens. This sound like it could be what was going on before the lens was put in front of it. A lot of music that I don't get particularly excited over came out of tht scene, but I've oftne wanted a document of the scene itself in its own time. That Watanabe sides was, I thought, as close as I was going to get w/o somebody dumping some personal tapes out somewhere, but Grossman...Grossman away from both Miles & Elvin is storied to have been a total firebreathing, coke-fueled, sax demon when left alone to be one. This looks like it might be - correction, could be - that. I'd pay a fair price to find out, just because.

For being amazing and elusive? I don't either. All things considered, it's about the only real "win" you can hope for in live that doesn't involve some kind of luck.

Doesn't look like fusion to me. Actually, it looks like a potentially invaluable "historical document"...kinda like that Sadao Watanabe Vanguard side, only with a horn player who could hang...

DL, please. And thank you.

Apart from of any of that, his sound was ill-served by the hall sound system, at least as represented on the video and the recordings that have been circulating so far. Same w/Roy, only different, he was all but inaudible on that video, and you can only blame the cell phone so much. I gotta think that hall sound had to have been better than that...

Fascinating indeed -- Sonny moves into Ornette's world, leaving behind the 12-bar form and I-IV-V-I harmony for extended blowing in the home key of what I assume is B-flat, with chromatic and stepwise forays elsewhere through sequences; and he incorporates Ornette's signature use of major and minor 3rds in building his melodic motifs. Then again, it's kinda like 1963, only slower... What might be fascinating is how effortlessly Sonny goes where he goes, how there really doesn't seem to be any effort in it, as if, yeah, he's been there, done that, and still knows the town like the proverbial back of his hand, maybe even that he's never really left there, he just doesn't broadcast from there any more, all of which might raise a lot of questions, although really, I think it answers that many more, and then some. The true depth of Sonny Rollins is still not widely appreciated. Perhaps that is best for all concerned.

10

"Sidewinder" = boogaloo = yes, but a jazz boogaloo, not a "Latin" one (which is from whence the word issued). "Una Nas" = boogaloo = not so much, because it's bossa/"Latin" structural accents are significantly pronounced & intrinsic. "BoogaBossa" or "BossaLoo" might be more accurate if they existed, but they don't, and it's really too late for them to begin now. Technically, both are in 4/4 time, although if you want to be hyper anal(ytical) about it, you could say that "Sidewinder" was in 8/8.

Were those videos taken on a cell phone?

I just got me one of them Wessems, after years of not caring enough to care enough. Still not sure that I do, but that's a fair price to put the case to the test.

http://www.youtube.com/watch?v=6vmLkAuvNe4