JSngry

Well hell then, everybody just exhale!

Wow, that's like a bad Paul McCartney song w/o the Beatles back story to give it even half a hope of having even some kind of even contextual merit... Or else it's this generation's Norah Jones, only without an attractive woman and a beguiling voice... Whatever it is, you just think it can't be escaped. Watch me now. HEY!

You sound not unlike whoever it was that sang lead on that old Sanford-Townsedn(?) Band hit, "Smoke From A Distant Fire". That's a compliment, btw, just in case there's any doubt. I wish I could sing that well!

I know those aren't "Willow " changes. It has some of the same chords in some of the same order, but that "similarity" does not equal "same". Tell you what - sing a full chorus of the lyrics of "Willow..." over a chorus of "Taxi". If they are in fact "the same", they should fit together perfectly. They don't. Not unless you're Darlene Edwards or somebody. For one thing, the second half of the A-sections goes someplace different. Plus, the harmonic sequence of the bridge on Taxi only cycles once. On Willow, it goes twice. That's because the harmonic rhythm for those chances slows down to half of what it would be if it were really Willow form at that tempo. It might seem like a technicality, but when you call a tune at a session and say something like "It's Willow changes" and then proceed to play something that's "like" Willow changes, doesn't even keep the same form, people might well gonna be pissed... Maybe the misunderstanding springs from terminology. When a musician says that a tune is "ABC changes" without any qualification, they meant that the changes are the same, the form is the same, that nothing changes except whatever melody you put on top. With "Taxi", we have a tune that is certainly similar/inspired by Willow, but - the form is not the same, and neither are all of the changes. To a lay person, hey, big deal, probably. And ok, whatever gets you through the night, if ou knwo what I mean. But it's still wrong.

The single disc was the German version, I think. Ut's fine, but the 2 disc is "as intended" and really does have a better flow, and ultimately, im[act. All things considered, CD Japan is probably your best shot for Monday's Japanese works. Prices are reasonable, and shipping is good, especially iusong the "2nd best" option, whatever its called. Using the top of the line shipping is really good, but pricey. Unfortunately a lot of her best stuff is curently OOP (but in Japan things come and go OOP back and forth over the years). Here's what they currently have: http://www.cdjapan.co.jp/list_from_code_ba...=&key=16565 In the meantoime, go ahead and get ROUTES, either from her website or from Japan (there's a bonus cut added there, but it's available as a download domestically), That's a killer side too.

Yeah, this is all really rather pointless. But you know how people likes the drama, especially the anti-dramatists!

Thanks, Dan, and as long as we're talkin' Babe Ruth, a couple or 3 hot dogs sure would go nice right about now!

Do not challenge my ability to really savor a well-turned hot dog, Albertson. You have no idea what you are getting into. If Hot Dog is Jesus, then I am god the Father Dog. And I will make you rue the day you slighted my relationship with my hot dogs. You have been warmed.

Y'all are behind the times. Again. For the last year or two, I post about as much in a week as I used to in a day. Sometimes even less. Other than that, hey whatever, If the mood calls for a goof, I goof. If it calls for question, I'll ask a question. If it calls for head-on I'll do that, But the notion that I'm here to "power post" is nonsense, asi s the notion that I'd somehow be be a more regal specimen if I posted more discreetly or with more dignity. Look - unlike some members, I didn;t come into this thing with a "brand", and I'm doing my damnedest to leave without having created one. I have no books to sell, no gigs or records to promote (not any more), no life story of legend to precede me, nothing. I'm a guy who's played some music, lived some of the music life, learned some lessons, taught a few, and oh yeah, I've gotten really good at spotting bullshit a mile away, which is why I have so much fun doing it myself. No mystery, no secrets, nothing but some guy with a computer and with a forum generously provided that allows him to say what he wants when he wants w/o having to worry about pleasing or displeasing any damn body. Not realy looking for too much more thna a good time, in what ever form it comes by in.

I am sorry I came home from work and took an ambied (for which I have a scritpor) and expected to galla ssllleep gradually as I alwasy do , only this onr's getting just a little ....spcygothpoiv, if you hget my frtigt. I'm sage, and this is really funn and feels even bettergood, but my typing is pretty much dhot to hell foir a liitle bit. I'd better get to be and go to sleep really soon, eh>

WE DONT KNNNEED NO RERON!!!++Thelatelateshow with larry cut;ly and moe A RE RON Gil Scott HERON stysa right to be TRUE!

Let's all go Ambien-trippin'

http://www.musiciansbuy.com/Selmer_62A_Par...A62A62aKIT.html Of course you can pay less. But you can always pay less. For anything.

A helluva lot more than $1500.00.

That interview's been on YouTube since last year. The interviewer keeps making weird noises. What's up with that? No matter, it looks like some more publicity is coming for this most deserving of artists: http://www.underyourskin.net/about.html

Was he an ancestor of Victor?

Well of course he thoughts about that particular aspect of music and how it was operating in Tristano's time. But do what? What new nuggets of wisdom and flashes of illumination are to be found there. at this [opint in time? Mot nearly as much as acknowledging what went on then, but, oh by the way, alot of good that all did, because here, look at all this that's happening now, where the Tristanomusic is incorporated alongside other jazzmusics, and people are doing it for musical, not socio-politcal reasons. Let's look at the past as having been resolved, or at least being in the process of resolving instead of looking at it like there's still some semi-black hole in the fiber of the universe where Lennie still lives, still suffers his pains and indignation and is still present to hurl it all right back. Lennie's dead. Warne's dead. Lee's older that god. But damned if I don't hear their language more now - if only through osmosis - than I did when they were alive (or younger than god). So why does the"interest" seem to be in studying the dead as if they are still alive instead of considering what the dead hath wrought in their wake? The dead are fixed quantities, and they don't fight back. You can go there and tell a story, reconstruct, hell construct a history, and people will come from miles around to go to the party. In the meantime, the real dead have disintegrated, flown away, and their remnants have landed all over and amongst us now, and those remnants have quite often assumed new, much less conspicuous lives. Why don't we look at how those guys played, what devices they used as part of their process, and then look at how many of those devices are now part and parcel of today;s language. A lot of it kinda got here by circuitous routage, but got here it did. So that's one thing to talk about. The "whiteness" of Trisatano is another thing to talk about. So, for that matter, is the"blackness" of Louis Armstrong and the "whiteness" of Bix Biederbecke. I think America is a lot more comfortable discussing its progress than actually going on ahead and living it, playing it out in real time. Somebody get that word to Iverson, that he doesn't need to look back to find out what happened - WE are what happened, and although, yeah, sure "why" is important, what's even more important is whatcha' gonna do with it now, peeples, whatch'all gonna do with it now? Whatever it is, I sure as hell hope it ain;t all gonna be in some damn museum or classroom.

I still say that framing any discussion of Tristano (or "Tristano" is you want to deal with the entire "school") in primarily racial terms is, at this point in time, missing the point more or less entirely. Yeah, it was a motivator then, yeah, it was a "factor" in its time, pro and con, but like damn near any discovery of merit, it's moved far beyond those specifics of its time and into the general musical genetic gene pool, perhaps in relatively small doses so far, but you know, once things get in, it's hard to get them out except by brute ugly force. If this is something that has begun happening just in the last 10-20 years or so, well, hey, it had to happen at some point, dig? And to miss that it has happened/is happening now is to miss the times in which we are beginning to live, which has unfortunately become the norm for jazz, but still, jeez, does it always have to be so damned....oblivious to its anachronistic self?

Beck Bogart Appice

Coke Escovedo Sheila E E. Power Biggs

On the subject of Air: The same concern that did the previous Japanese reissues pf Why Not also reissued some things from Trio Records, including Air's Air Raid, which to my knowledge never received American issue. The late Red Trumpet used to carry that whole line of reissues. FWIW, if the reissue is any indication, the cover art of Air Raid was used for the IN issue of Air Song.

Babe the Blue Ox Clifford the Big Red Dog Pegasus the Flying Red Horse (of Mobil Oil fame)

Little Girl Blue Big Boy Crudup Edgar Cayce

Tyrone Davis Hamilton Bohannon Boobie Knight & The Universal Lady

The clip linked to above is from the BBC tapes. It was live, and it was definitely Ringo. The studio version was from 1965 and is woefully lackluster imo. People sometimes forget that Ringo was already a well-seasoned club drummer with a good professional reputation when he got hired for The Beatles. It was precisely his professional skills that got him that gig. The guy could play, and play well, at least within the world in which he was functioning. People also sometimes forget that before Beatlemania, the band spend a lot of years functioning as human jukeboxes on a lot of grueling club gigs, notably in Hamburg, where the gig was something like 8 hours a night. If "virtuosity" had evaded them to that point, competency & tightness as a performing unit had not. The BBC tapes are a great example of this, and probably are the closest we'll come to hearing what they sounded like on a latter-day club gig before fame hit. As a performing unit, they did not sound bad at all. As far as the "is it really Ringo?" thing, hey - it's pretty much been established that A) Bernard Purdie's claims to have been called in to overdub Beatles drum parts were for the Tony Sheridan sides (where he would have been overdubbing Pete Best, not Ringo, right?); B) Paul eventually got around to playing drums on some of his own pieces; and C) everything else is most likely Ringo. What did happen with Ringo is that he didn't "keep up" his skills as a player. Seems to me that he realized that he had gotten the break of a lifetime, so why get all into the practicing thing anymore. So yeah, the Ringo Starr of 1973 was not the Ringo Starr of 1963, and it went downhill even more after that. But - the Ringo Starr of 1963 (and up to about 1967-68) was a drummer who had skills. Somewhat highly specific skills, yeah, but skills that I think deserve recognition, and if you feel like it, a little bit of love. Tell you what, if you've ever been on a gig where the drummer fucks up the kick leading back into the vocal on "I Feel Fine", wither through bad timing, an inadequate sense of percussiveness, or just plain ignorance and thinking that it doesn't matter what you play there (or even worse, that there's something "better" to play there...), you know what I mean.