JSngry

Going for that Janus look, eh?

Cecil Taylor's reaction to (then) LeRoi Jones' review of Taylor's recording of "This Nealy was Mine" was a blunt, "Doesn't that fool realize that I recorded that song because I liked it?"

Is the personnel listing wrong? "Fred Williams" on bass? Who's that?

Whazzup w/Sam Most's hair?

http://classicshowbiz.blogspot.com/2008/12...show-1950s.html One of the weirdest things I've ever seen, all things considered...

Da' Bastids had a Japanese reissue up within the last few years, but at J-prices. There was also a 70s vinyl reissue, that whole Bethlehem reissue thing, but iirc it ws one of the later/last ones in the series and didn't get too much of a run. I'm loathe to give too many props to those "questionable" FS reissues, but this is definitely a date worth hearing.

http://www.bsnpubs.com/dot/dotstory.html

HEYYYYYYYY RICKY! Here's one that was about to be forgotten: You got you "unusual" frontline of alto (Gene Quill) & trombone, w/Teddy Kotick & Dannie Richmond filling out the rhythm section. A fine repertoire (including three outstanding Knepper originals), and everybody came to play.

Jimmy Knepper played great with Mingus, but he was no slouch on his own dates. Those interested might want to check out: Jimmy Knepper in L.A. (Disco Mate LP - reissued as a Japanese CD on 3D) Tell Me ... (Daybreak) - "Nearer My God in G", "I Thought About You", "Nearer My God in G" Dream Dancing (Criss Cross) - "Goodbye", "Of Things Past"" "Hold Back the Dawn" on T-Bop (Soul Note) - co-led w. Eric Felten Primrose Path (Hep LP) - "What Is There To Say", "Latterday Saint" And don't forget the Bethlehem date (another one for the "Bill Evans w/horns" thread...). Sublime!

And GOD do I apologize to anybody & everybody (including myself) for that one....

I understand. You're just going with the (minstrel) flow...

In one very real sense, Monk was a "song and dance man", a true "entertainer". And then again, not. So where's the argument that can be won by either side along the whole dualist Dignity vs Minstrel line when/if it's cast solely as Artist vs Entertainer (even an argument that allows for gradations only in reference to the two most extreme ultimately seems to end up as Pick One Or The Other if it goes on long enough)? There ain't one, not that I can see, which is why I'm all in favor of just "letting it be what it is". This is going to be one fo the first triumphs of the "post-racial America" we keep hearing about. And if so far, I think it's pretty much vaporware, I also think that the seeds are there to someday make it happen, if them that gots it are stubborn (and that's really what it's going to come down to, I'm guessing, just old-fashioned, bull-headed stubborness) enough to not succumb to the pulls/traps of the manipulations of the past. Could go either way. We'll see.

And so the ambiguity continues.

Any "serious jazz musician" who questions Steve McCall's time is an instant recipient of a Shoemake Award in my book... (sorry, "inside joke" about a guy who questioned Bill Perkins' knowledge of harmony in some blog or something...)

I also don't think that this ambiguity is ever going to be (re)solved, or that it necessarily needs to be, other than by simply accepting it for what it is and moving on. Once the "need" to resolve it is removed, hey, it no longer has any power other than it being just one more thing that goes into the mix. Big whoop then!

Dizzy himself is on record more than a few times making very similar, hell, damn near exact statements about himself and bebop in general. There's (at least) two levels of reality going on in all this. There's "minstrel" as in historical reality, which Allen certainly knows about and accurately notes was a time of incredible cultural/artistic cross-pollination. Then there's "minstrel" as an oppressive/regressive set of business/cultural expectations. Which one is "real"? Hell, they both are, as are their legacies. And can't no amount of protestations on/from either side change that.

Words to live by, those!

Yeah, it's a collection of live jams recorded at The University Of The Streets, which I take it is a club he used to own. Pretty good stuff. Note though, that Sonny Rollins' presence is real, but he only plays "pads", meaning that he opens and closed the keys on his horn with enough percussive force to make a sound, the pitch varying accrding to the fingering that he uses. It's "interesting", but far from the most compelling reason to hear the album. Braith has really grown on me over the years. A very quirky guy musically, but...one with his own vision, which he seems to lack no initiative and ability to make heard. I've become a stone fan, gradually.

Can't say you weren't warned, though! http://www.organissimo.org/forum/index.php...st&p=837455 The only surprise about Marsailis is how unsurprising he remains after all these years...

Wow, that sucks that he thought that you didn't know anything just because he disagreed with your conclusions. Pretty damn arrogant, eh?

Interesting lineup... Same axis, but definitely a different mass of rotation.

Truthfully, I don't think that "academic" is an insult, at least not in and of itself. Academics are vital to the historical preservation and documentation process, and even if that's something that you may or may not want/need at any given moment, god knows it's far better to have it when you don't than to not have it when you do.

Disconforme shows up here too: http://www.titlespace.com/catalogue/all-titles/music/1899/ as well as plenty other places.

Yeah, I know. But it'll be gone after Christmas. Part of the tradition is that we slit the throat of the Christmas Blue Jay on Christmas Eve, drink its blood, and then roast it over an open fire for consumption at the stroke of midnight.

Much less that they called him an academic!