JSngry

Lester Melrose, but he was white, It hink. http://en.wikipedia.org/wiki/Lester_Melrose

Anybody heard this Tommy White cat?

I've heard that the newer versions of Norton have scaled back on the resource-hogging somewhat. Can't confirm that from experience, though. AVG was the subject of a recent thread here about messing up iTunes. some say they've become bloated and not as good as they once were. Again, I can't confirm. My adive - if you're out of time and have not been dissatisfied with Norton in the past, keep it going, ASAP, and begin the search for a possible replacement before it runs out next year. Surfing bareback these days is not even a half-assed good idea.

Well, if you don't have any, I'd have to say that you need some, quite likely all.

I just heard that Billy May is working on an album with Generalissimo Francisco Franco....

New York, New York was one of the first 100 or so jazz albums I ever bought....cutout bin fodder, 3/$1.00...I had never heard of George Russell, but I had heard Trane (on Transition) and had heard of Bill Evans and Art Farmer and Max Roach, so yeah, for 33 cents, why not? Even now, especially now, that album enrances...so much music there.

Tommy Cash Ozzie Canseco Donald Nixon

So it's official...damn... What a mind...and what ears to go with it. http://www.youtube.com/watch?v=40jXuSmusXc

Hey yo! Just checked & much the same happened to me. I'm $4.98 short...all things considered, I hope it's the Stitt...

Nah, as the kids say, that's emo.

No problem. I understand that this kind of thread is considered by many to be a waste of space, but I have to say it's also an act of kindness that kind of made my day. It's nice to feel appreciated in a community of which I have been a part for so long. So thank you, Jim for the thought. You're welcome, Paul. The key word here is community.

Uh....no.

Perhaps. I don't think that comparing the Miles/Miller collaborations to the Miles/Evans ones are completely irrelevant. Even with the obvious chronlogical, sociologial, and technological differences, there's a lot that remains similar, not the least of which is Miles lending himself to be the lead voice in an environment created by somebody else, although completely with him in mind, and with his input along the way. Marcus Miller deserves a lot of credit for creating these tracks, as intersting, challenging and varied as they are, just as Miles deserves credit for inspiring them and how he interpreted them in the studio and especially, as you note, live. To me, this is vital contemporary (then and now) music of a quite high esthetic. The one adjustment I've ahd to make to get more into the music is that of the "digital" recorded sound. It's too easy (and I say this from experience) to let the color of the recorded sound color one's perception of the content of the music. Maybe that's why the live material speaks more immediately and fullfillingly to some of us?

?

I can see that...the only thing I can counter with is that by this time, Miles was "making records" instead of "recording", if you know what I mean. That's a whole 'nother skill, mindset, whatever, and definitely not one that everybody likes or respects (and fair enough about that). But ultimately, he was interacting with a "rhythm section", just not in real time... Just curious, how do you feel about the live shows from the same time, where he is playing with a live band?

And that's one of the things that stands out to me. It's not so much simplicity as it is distillation. The phrases are quite clearly enunciated, incredibly succinct, but at the same time, some of the note choices are really "out" relative to the underlying harmony. But you'd not know it unless you had cause to think about it, and the whole thing is so effortless that unless you do an "analytical" listening, you'd not realize that there might even be a reason to think about it. I know Miles' chops were not always at their peak during this final period, but rather than do a (for example) Dizzy and keep on playing what he knew as he knew it, just more and more weakly, Miles went on ahead and found a way to fit what he knew into a modified (again, the word "distilled" is what comes to mind) way where everything he knew still came out, and quite clearly. No small feat that, and definitely not the act of a "coaster". There's nothing simplistic about Miles' playing here. It's anything but. What it is is graceful, elegant, regal, and above all, knowing. Sometime we can talk about the rhythmic diversities on these cuts. There's a wealth of music just in those...

I didn't know that Michael Howell was still alive. Drag to hear about the gig, but good to find that out. Cloud/silver lining/etc. But for real, although I know it's a drag to lose a cool hang in the name of progress, did anything illegal and/or unethical go down here? Or did the landlord just do what dispassionate landlords do - seek a better return on his investment? What I've long wondered is this - in what percentage of the time would a tenant of such an establishment making an aggressive effort to instill some sort of personal connection to the venue in the landlord actually pay off? You know, get the guy in there, get him to feel the vibe, make him a hero to the patrons, etc, how many times might that pay off in some form when the lease expires? In other words, is it possible to make a dispassionate landlord a little less dipassionat, enough to change the dynamic in a favorable direction? That a rhetorical question, really. I have no idea. But I do know that sometimes sucking up to power can keep you alive to fight a better battle. Hell, look at Moses, look at Joseph...

What they wanna go and put Duke on some two-bit coin for, huh?

I'm not telling anybody that they're not. Some fine musical minds don't doig this at all, just as some do. Fine minds and good tastes can, will, and should differ. I'm just saying that those "jazz fans" who don't think critically or confront the non-familiar won't like this. Nothing more.

Here: And this sure looks like one to get:http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:3zfwxzwkldhe

Just finished my first serious listen t this one oin a few years and was frankly blown away by the amount of substance there is to be had here. Of course, very little of it has to do with what various forces over the years have been for various reasons been trying to convince people is "really" "jazz", but if that's what you're looking for, then, hey...your buffet table's already been set, so eat until you puke, or whatever you do on those cruise ships where critical thinking and confronting the non-familiar are aggressively removed from the itinerary. Otherwise, check it out - so much rhythmic, tonal, textural, structural (but there's so many vamps, I can hear people whining, well, yeah, but check out what goes on on top and in between, a whole big bunch of variety there, none of it simple-minded). Tutu has sort of become "the" late-period Miles album, but I tell ya', Side 1 of that one earns its keep, But Side 2 gets kinda iffy more than a few times. But Amandla, Amandla is strong from start to finish. Strong, creative, energized, and wholly of, yet not imprisoned by, even transcendent of (like all great Populist Art) its time. If we have a future where the entirety of an artists' catalog will still be evaluated on its own merits (like we have one now, YEAH, RIGHT!), then Amandla will surely rise from its currently status of token appreciation to take its place as one of Miles' crowning achievements and "everybody" will "know" it like they do Kind Of Blue or some such. Then again, so will Filles De Kilimanjaro. I ain't holding my breath, but I'm just saying, do not overlook or casually encounter Amandla. It has so much more to offer, if you want to get to it.

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