JSngry

What, you don't sometimes tap a pencil in rhythm or sometimes find a little "glide" when you walk or sometimes speak with a melodic contour & cadence?

I'm wonder what, if anything, it means that so far this discussion has centered on music that other people make. That's not what I mean by "music being essential". I'm referring to the seemingly innate/inborn tendency of humans to...do something musical themselves, even if it's just "in their head". That's what makes it "essential", I think. Everything after that...springs from that basic impulse, and that's where stuff gets all "psychological" and shit. Don't know if that's where MG was coming form, but since he used my quote as a starting point, hey, I get points on this deal, right?

I really want to buy some of those socks (they're not "leggings" are they?) for LTB. Seriously.

Y'all don't hear me now..

I think he was simply delineating between music and its carrier. Since I listen to so many eMusic downloads, I'm still listening to music, but not to CDs. No, I was referring to recorded music in general, music as "object". I think it (music in and of itself) is essential because as MG noted, every civilization in the world has it. I also differ w/MG in that I feel that the audiences served by both "art" & "industrial pop" musics are, in fact, communities themselves, and should be respected as such, not some artificial construct foisted upon us by non-natural forces. It only seems that way, I think... But really, for me, music is essential because it's about engaging vibration. All existence is vibration, and music enables us to contextualize vibration in such a way as to give us a sense of time, place, spirit, you name it. Even if it's nothing but a voice and/or somebody beating on something, it's ultimately about figuring out where you are, why you're there, and what you're going to do about it all. And to me, that is at the core of human (and even perhaps some (remotely possibly all) non-human) existence. What's not essential, imo, is being able to pick and choose somebody else's vibrational expressions and adopt them as your own lifestyle accessory, which is ultimately what recordings (and sheet music) allow us to do. Certainly nothing intrinsically wrong with that, and definitely plenty good about it, but we could all live without those things. Whether or not we could live without eventually humming or howling something or rhythmatizing something, well, I think that's debatable. I tend to think not. Anybody who can go too terribly long w/o having some sort of "musical" though or gesture....that just ain't right.

Can I say it again y'all?

By all accounts, a highly principled man who made music that was every bit as highly principled. Always a loss when somebody like that leaves this plane, but always a blessing to have them here while they are. RIP, and deepest, sincerest thanks.

Al Grey Al Green Al Gore

What style of socks are those, and where can you buy them?

I saw this thread title & all I could think of was...

No, I don't do censorship. I'm just saying that a film is something where you know what you'r getting going in, and although I know all that shit's coming, it still bugs me to have it screamed into my house by outsiders. But that's part of the movie, so ok. Price you gotta pay to be free, and all that. All I'm saying is although that Ms. Simmons' "slip" was certainly no cause for apoplexy or even mild uneasiness, her apology was in no way inappropriate or cowardly. I think it was an act of graciousness and propriety, and more power to her for that.

Lord knows I probably use the word "fuck" as much as anybody alive, but... a TV broadcast is coming into your house, it's not part of the family. LTB watches all these "gritty" drama movies where inevitably there's a bunch of motherfuckers shouting FUCK FUCK FUCK FUCK FUCK at top volume over and over, usually while firing guns or beating people up, and when I hear coming that from another room, I get kinda pissed and want to go in there and slap those punks down and tell them to show some RESPECT in MY house, dammit. It's just common courtesy, really, nothing more than that. Not a big "moral affront" or anything, just common courtesy and simple respect, neither of which are as common nor as simple as they probably should be.

Why? Hamilton's recorded w/Robillard before.

Occasionally. But I look at it like this was one of those times when Miles' music was one of those "in the air" things that got crystallized by somebodies else. No denying the vision there, though.

Brooks Robinson Mark Belanger Dave Johnson

Basie.

Sorry man, no dis to your mom (or to anybody, really) intended. It's just that I put in a lot of years smoking Kools (including a few weeks on the unfiltered jobs, YIKES) & finally switched to Newports for a few years before finally quitting. Salems were the other "major" menthol brand of the time, & I never could get a taste for them. Too sweet (in a cigarette way, of course). Menthol is a lifestyle, it really is. People who don't smoke can't really understand this, but it is. And like all lifestyles, there are "camps". What I really miss (oh wait, I wait, I don't miss any cigarette any more, right? yeah...) are Players menthol. A hip-ass box and some not-bad smokes inside. I know a drummer who was religious about More menthols. He was a tall, skinny guy who walked like a drummer (if that makes any sense), and that long skinny green More pack & those long skinny 120s made for a total image, if you know what I mean (and if you don't, count your blessings).

Bam Bam Pebbles Taka Boom

Not to be maudlin or anything, but see, I know that money's been tight from just gigging, and now, here the man has left you with a gift, a craft, that you can use to better help provide for your family while at the same time kinda "walk with him" on every job. I'm telling you man, love is a gift, a blessing. Treat it as such and the rewards never stop coming. And just think, now you've got the chance to "pass it on" to your family. That's a beautiful thing!

Don't you give me no damn Turtle Wax...

Dude, it's a just pack of fucking cigarettes, dig? You're ok!

The Kool packaging back then was predominantly white, not green like it is today, so if you don't have that older memory & a glimpse of it is all there is, you might think it's Newports, which used to be mostly green in packaging, but not by then, not as I remember it. But no matter about all that, it's the shade of green that will tell the truth, and thank god it wasn't Salem, truly menthol for white people who thought that menthol = candy.

Where can I find this album?

First I've heard of this. You mean, Miles actually pioneered in 1972 a music that had been developed by James Brown and, on the jazz side, Freddie McCoy in the mid-sixties. Wow! That takes some doing! MG But neither of these guys dabbled in Indo-jazz fusion and Stockhausian repetitive grooves though, which Miles (with Buckmaster and Teo) did integrate into the mix. Acid-jazz, I don't know about, I think I'm in line w/MG on that one, but later things like Drum 'N Bass, Jungle, & Broken Beat can, in substantial measure, be traced backwards to On The Corner & Get Up With It, the two albums which, on the whole, I still think ultimately represent Miles' most personal and/or truly innovative musics.

The, for lack of a better term, "Plugged Nickel Band Style" had to wait about 20 years after the fact to become "mainstream", but it did. Same to a lesser extent for the "time, no changes" approach of the Second Quartet's studio albums. As far as "innovator" v "popularizer", I don't really agree with either. I think of Miles more as a "crystallizer" somebody who who could pick up on various things already in the air and put them through his uniquely focused prism and come out with a fully formed "genre" where before there were just pieces waiting to come together.