JSngry

Dude, that's, like, the part of Texas that nobody in Texas goes to unless they have to...

Hey, like I said, on some other night, some other place, some other cop... In spite of having any # of quality experiences in the past, don't get me going on how there's been something weird going on w/the Plano PD the last few years - speeding tickets out the ass (some of them "officer-less, and what a racket THAT is...), the citizenry being treated like a cash crop, and now all of a sudden the street officers are driving around in bigass SUVS and displaying waaaaaay too much "cop attitude".... Some other time perhaps. But something ain't right....

Typical bad cop behavior, yeah. And there are too many of them. Still, a good cop has my highest respects. But a bad cop - as is anybody who is entrusted with tremendous, and momentarily unsupervised, power and then proceeds to use it simply to act out on their own head trips - is indeed a dirty, stinking, cocksucking pig.

Yeah, a Dallas cop is the pig here. Clearly stated in the linked WFAA story. Which is not to say that on some other night under some other circumstances that it couldn't have been a Plano cop....

Dodo Greene I think Ella might've done a Pablo side w/organ, but that's not my field of expertise.

I prefer to think of "genius" as the creation, not the creator.

Ah...

Then again, w/o a piano, some people who weren't really pitch-astute but who instead followed melody more as a succession of intervals and contours instead of specific pitches relative to an underlying harmony might not have found Ornette particularly daunting.

How so? As an antecedent to "Hard Work"?

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Did you forget?

What's the approximate distribution between Jones & Benny Benjamin, and for how long did their Motown years overlap? Of course, Earl Palmer claims that Gordy routinely sent things to L.A to be redone, but I ain't too sure about that...

Pops Poopadeaux

Yeah, that Gary Burton guy looks like a critic now.

No, Chuck, there are only twelve exact, specific pitches in an octave, and everything else is wrong, should not exist, serves no use other than to be wrong. Just like life, there is only one way to do anything, and that is the right way. I'm surprised that a man of you experience needs to be reminded of the rules.

One more thought for consideration - in 1961, if somebody's soloing was disrupting you and makes you nervous, as both Ornette's & Trane/Dolphy's did, who would have been more likely to push that disruption up a notch, Billy Higgins or Elvin? No Elvin, no Trane as we know him now. This I do believe. Roy Haynes came close, but would that have worked out over time like Elvin did? I tend to think not.

Ginger Lynn. Not Fred?

http://classicshowbiz.blogspot.com/2008/07...uest-louis.html Priceless...

undoubtedly, its Ginger. Not Fred?

I honestly don't know how it was heard in 1959, obviously. But Ornette did get a fair amount of "hype" (Lewis, Schuller, Jazz Review, the titling of his albums, etc.) that stressed the "differentness" of his music in such a way that maybe a lot of people felt...compelled to have an "opinion" rather than just a spontaneous response, if you know what I mean. Recommended reading on the matter - Joe Goldberg's chapter on Ornette in Jazz Masters Of The 50's.

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Well, those criteria & "favorite ECM" don't necessarily go together for me, but nevertheless, I'd put Carla Bley's Night-Glo in there, keeping in mind that Hendricks wrote lyrics to some Jobim tunes before Gene Lees got the call.

Definitely.

Given the subject matter, I'm afraid to click on those links...

Grab it.