JSngry

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.

http://www.youtube.com/watch?v=aTGEOc53S5Y...feature=related No, it ain't "hard". But it sure is perfect. Almost Blue Note worthy, this straight-eighth drumming is. Seriously. Check him out behind the guitar solo, and then how he brings (hell, LIFTS) Lennon back in at its end. Whatever else he couldn't do (and lord knows there's more than a little of that...), he could do this, and do it damn well.

http://www.youtube.com/watch?v=Tb9-h2M9D1U...feature=related

Long Tall Sally Short Fat Fannie Loud Mouth Annie

Same here, on all counts.

http://classicshowbiz.blogspot.com/search/...ek%20that%20was WARNING - There's a lampoon of American racism included in this clip rhat is very, uh.... unflinching. And totally un-PC. But the drummer on the theme sounds like Klook or somebody.

http://tv.jazzcorner.com/view_video.php?vi...07ee22b6198c578

Lewis & Clark Martin & Lewis Rowan & Martin

Sorry to hear about this, and not to deflect attention away from Ms Yow's death, but I couldn't help but notice this at the end of the above story: Do ya' think that....?

And htat was your introduction to the exciting world of on-location snuff films?