JSngry

Which if his recordings would he recommend to a total jazz neophyte, and why? Which of his recordings does he think and/or hope that people will be listening to long after he's dead, and why? Which of his compositions does he think/hope should become "jazz standards"? Did he at any point in his career contemplate making a "power play" into the classical world as he did into jazz? If not, why, and if so, why did he finally decide against it? What does he consider the greatest strengths and weaknesses of his playing and his composing?

Good paoint, Mr. Wy. Programming is a woefully under-commented on aspect of BN albums, I think.

A movie star as well as a serious actor, a man who got married (and stayed married) and remained a sex symbol, a rich race car driver with a philanthropic bent, an actor who could do goofy and serious with equal aplomb, a celebrity with substance. In short, a life well lived.

The story I've heard is that Grossman was playing like Bird by age 15. Iuse to think that Stone Alliance-era Grossman was all Trane, but going back to it, I now hear the underlying Rollins influence as well. It's subtle, but it's there.

Human breast milk is quite tasty.

My personal hell: http://vids.myspace.com/index.cfm?fuseacti...;videoid=708346

Have a Coke & a smile. Because...

May I have a cup of tea, please?

For the Moose:

Here's that thread: http://www.organissimo.org/forum/index.php?showtopic=187 But still, we don't know who the Laura was to whom Grace was speaking. Odd...

Right at the very end, just before the guitar solo. It's the last thing she says. I guess it's "Laura"... Maybe it's "lava", "love Ra" or something else. Right now today, I really don't care. But in 2004, I guess I thought it was "Laura" & thought there might be a story there. What I want to know now is why the hell Moose resurrected a 4.5 year old thread that had heretofore gotten zero responses. That's just weird, Laura.

Looks like some Jazz Composers Guild affair.

Ok, I have been negligent. Kullrusk, a quartet of Per "Ruskträsk" Johansson & my hero-in-(still)waiting Jonas Kullhammar (saxes/clarinets, electric & non- ), Sven Lindvall (bass, ditto), & Martin Jonsson drums. Everybody's involved in other projects, so the "focus" of this group is to play the music with this instrumentation. It's all pretty much uncompromising stuff, not different from what they play acoustically, but the electronics add textures otherwise unavailable, which make it subtly but undeniably "different music" than the same thing play acoustically. Available on Moserobie records, supplies are limited, what's come out so far is probably gone already except direct from the label, but poke around and carpe diem when opportunity arises. These guys come to play. Ok, seek and ye shall find. Excerpted samples here: http://www.kullrusk.com/ http://www.quesonegro.de/audio/alice_the_babs.mp3 http://www.quesonegro.de/audio/twod.mp3 http://www.quesonegro.de/audio/hard_shit_luxury.mp3 http://www.quesonegro.de/audio/01_hellstone.mp3 http://www.quesonegro.de/audio/05_he-mam.mp3 http://www.quesonegro.de/audio/07_merguez.mp3 Discs available from the Moserobie website: http://www.moserobie.com/main.html CDs are "120 SEK except where noted. Price includes shipping within Sweden. For international shipping rates, please ask!" 120 SEK = 18.3473 USD Pricey, but for some, not astronomically so, and the music is damn fine. Proceed accordingly, I suppose. Dutty Goove sells the CDs for $13.99, but again, supplies are limited, and if you don't get'em on the first shot, there ususally ain't no second shot.

Not any shorter than a few decades worth of 78s...

Camden, NJ, not Camden the label.

Some of the tunes remind me of Carla Bley's earlier work. It's funny, the personnel was not released with the CD, you had to go to a website to get it, but Elvin was immediately identifiable, as were Sweets, Taylor, Burrell, & Toots. For me, the whole thing falls into a category of Things That Are More Serious Than They Appear, Intentionally Or Not.

That link doesn't load for me, Bertrand. What are we seeing?

Not just that, but if you want to imagine such a thing as fanciful as a "collective American rhythm" then he's one of the prime architects of one pretty hefty chunk of it. I love how he used to call back home and tell the cats that "they're using two drummer out here to do what we did with just one". That's a metaphor for so much of the American experience than just music. If anybody can find the YouTube clip of hip jamming with the DJs, the scratchers, that would be a gas. The guy has a look on his face like he iunderstands exactly waht is going on, and yeah, why it needs to be going on. RIP indeed, and we owe you more than we could ever repay.

Per AMG: http://www.allmusic.com/cg/amg.dll?p=amg&a...0nfoxqualdfe~T1 AMG show the drummer on the Gamba side as being Paul Motian. Hmmmm..... Who is/was Jack Gamba & what was Paul Motian playing while with him? AMG also does not give the third album on which he allegedly appears.

Word, but remember, we're almost 30 years into the post-_______________ America and/or jazz scene, and things got.....turned around and have yet to get turned back around. Ya' know what I'm sayin'?

Yeah, safe to say that I'm a fan.

so Harold, was he just recorded really well on that Jacy Parker side, or did he really have one of those old-school fat-ass sounds with all kinds of "air" in it, the kind of thing that makes playing over it like walking on air? Alos, I guess he "stayed local" during most of his career, eh?

Braxton swings. Period. Not as a "style", but as a reality, a physically sensed/heard/felt quality of irresistable momentum in the service (often extrapolated out a dimension or two, but always present nevertheless) of the dance impulse. Plenty of different ways to get there, but once you do, there you are. And you can't fake it or get rid of it. Braxton swings. Period.

Funny how time changes things. I dug up this old thread and saw many things I wrote at the time and I've reversed myself. Open House/Plain Talk has grown into one of my favorite J. Smith Blue Notes. Two words, dudes - Ike Quebec.

Only heard him on the Jacy Parker Verve side (obscuritus maximius/thankgodimus forbloggimus), but DAMN!!! I'm not of the "now THIS is how you make a groove" school, but this is definitely one way to make a groove. Don Cinderella, y'all DON CINDERELLA!!! HELL YEAH!!!