JSngry

Well, there you have it!

Yeah, ignorance. There's a lot of that going around. Since time-fricking-eternal. Does that surprise you or something? No, what surprised me is that when they said that the McGriddle had the syrup baked in, they really meant syrup, and they really meant baked in. I did so not see that one coming... I mean, they call that shit "cheese", you'd think that everything would be off the table as far as reality goes. But apparently not. Helluva country, eh?

Dude - you're the New Yorker and I'm the Texan. Let's get our stereotypes straight, please!

More like ignorance, but that's a line that you can draw wherever it works for you.

James is one of my best friends and he is a hell of a musician. That doesn't sound like anything he would say, though. 2974 was a long time ago, anyway. Well hell, it was 965 years in the future. Maybe he was senile by then. Seriously, the point he was trying to make was simply that there's a lot of chest-thumping about "purity" by people who don't have even half a clue as to what that really means. Good point then, good point now.

For that matter, the notion that a tube amp (which is what the conversation/comparison/whatever was going on about) is even capable of producing a true, 100% "pure" sound is one that is questionable at best. Some would even call it laughable, but hey, you know how geeky geeks can get... Ok, I'm done now.

And oh, btw - the "misinformed" person who said that was a guitar player, and a damn good one at that, even then - James Chirillo, spring of 1974, I believe it was. Somewhere back in there.

The point about Kessell was that "jazz people" like(d) to bitch about how rock guitarist's use of electronics distorted" the "pure" tone of a guitar when in fact most of them wouldn't know a "pure" tone if it bit them in the ass. I think that's a valid point even today. It's like people who want to nag about pop music's use of post-production while overlooking, hell, probably not even noticing, the splices on so many "classic" sides of the 50s & 60s. Or even worse, praise the same shit in the creation of motion pictures. Making an informed argument on the matter of degree is something I can respect. Making an uninformed one on a "principle" that is at the very least partially imaginary isn't.

No, actually, I am wrong. Chick says in the liners they he had formed the original RTF about a year before hooking up w/Getz, but that work was not constant. So when he heard that Getz had a tour coming up and was looking for a backup band, he carpe diemed & pitched him, Stanley & Airto from RTF + Tony as the band, and the RTF repertoire as the book. Stan went for the idea and the rest, as they say, is history.

Not sure, but I think this band actually preceded the original RTF. Chick contributes an essay to the reissue that delineates all this. I guess I should give a reread...

FWIW, Belden removed all the post-production reverb & reissued the album totally dry. Freaked me out at first (really freaked me out, actually, to the point of almost pissing me off), but it does let everything get heard cleared and better, which is a good thing, because them boys was playin'! And FWIW, and as sstricly a matter of personal taste, I can't say that I've ever heard a Rhodes sound "clean" and "good" at the same time. The "distortion" is part of the characteristic tone that those of us who like Rhodes like about the sound of the Rhodes. Lest anybody scoff at that, I had a guitar geek buddy back in college who would go off on jazz guitarist's bitching about rock player's "distorted" tone. "Listen to Barney Kessell," he'd scream, "that motherfucker's playing through a tube amp with so much distortion built into it that everybody just assumed it was a pure sound. BULLSHIT. You've got to use electronics to get the distortion OUT of an electric guitar sound!" So yeah, Rhodes was not really an "electric piano". It was a Rhodes, an electric "piano". Differnt species altogether, great for some music (like the eternal WHOOOOOSH of Captain Marvel), not so great for others, and downright inappropriate/unacceptable for others, unless the intent was to make it something else. But to put Tommy Flanagan on a Rhodes to play Bebop at face value....why? For such a music of such a supposedly "abstract" nature, a lot of jazz people, players and fans alike, sure do tend to be aggressively literal-minded....

Well, ok, but that means that Euro-audiences are just as stuck as American ones, only instead of being stuck in the 50s & 60s, they're stuck in the 70s & 80s.

Pi. Maybe.

Not that I disagree, but which label is the pre-eminent jazz label??? The one that records and releases the pre-eminent jazz of our time. Which is........??????? Exactly.

Ken Dahl Ken Wahl Corinne Alphen

Pretty much the best/most consistent album by the soon to be popular Lloyd/Jarrett quartet. Great playing by all and you get Cecil McBee & Jack DeJohette to up the ante. This was the "breakthrough" album: It's very good, but I think that Dream Weaver is the better music.

That;'s a different one then, because the one I saw definitely had Franco.

Pretty sure the American Quartet (Quintet, actually, Guillermo Franco had been added by then) did a show for NPR, or one that aired on our NPR station. Has that ever been made available commercially?

Jackie O Sheila E Auntie Em

Just heard it (and am still hearing it) - "Tell Me What's On Your Mind" by Cyril Neville. http://www.youtube.com/watch?v=-ZNeZeaAUds...feature=related Go ahead, get inside that rhythm section. Just make sure you don't have a need to be anywhere else for a while.

And fwiw, I hope my comments about Jarrett aren't viewed as part of the "attacking" contingent, nor as argumentative towards his more unconditional fans. I hope I've made it clear that there is much of Jarrett's music that I find very appealing, and my intent in discussing my ambivalence towards the rest of it is just that - discussing. There's artists that I feel about the way that some feel about Jarrett, and those artists are often felt about by others the way that I feel about Keith. No big deal one way or the other in my book. Just want to make that clear & avoid any misunderstanding, if there was any to be had.

With his glass-bottomed car?

To the Dead's credit (based on what very little of them I've heard), when the zone was not there for them, they accepted that it was going to suck, at least for a little while. They didn't pretend or try to convince anybody that they were there when they weren't. Can't say that about Jarrett, and, rightly or wrongly, that bugs me.

Same here. Besides the work with Russell, his Mainstream album was quite nice.