JSngry

Speaking of which, where's Dr. J these days?

But perhaps one of our members from a textile-rich area of the planet could help Mr. Anka & his guys get the shirts they need at a price they can afford? Seems like that would be the Organissimoistic thing to do, help a brother out in need and all that...

Ohhhhhhhhh..... Never mind then.

Maybe not, but Anka's guys need shirts, and shirts is what Chris has got.

Then maybe he should hook up with Paul Anka?

Yeah, I'm tempted on this one.

Dude, he's a guy.

Priceless!

No, see, the goal would be to be a part of a fluid local scene, one that offers opportunity to get out as well as to stay put. A big part of that is dissemination through recordings, and Chicago's got that (where else can you do a vanity project, play your games right, and get it out on a label with distribution like Delmark? No money, but when is there ever?). Another part of it is potential national visibility from a local platform. Chicago's got that too. Chicago's got a lot of stuff that none of those places you list don't. Remember, the objective isn't a "perfect" "jazz scene" where one can live happily ever after and get happy and fat. You can do that in any of the places you list (or I guess you could. Dunedin? Uh...) The objective is to be in an environment where you can move your shit ahead on at least somewhat your own terms (and that's why NYC is off the map, and has been for a good long time), get something good going, and then see what comes out of it. No doubt Chicago is not without "quirks" and/or "issues", and there might be a lot of "hype" to the rep, but this is (or would be...) not about all that, but rather beyond all that. Dig it - I stayed here for a good long time because I had playing opportunities, regular "creative music" gigs, ongoing weekly spots at the same venues. Cats from NYC would marvel at that, saying that they get to do something like this maybe a few times a year, saying that you got a good thing going. Well, ok, yeah, all well and good, but then what? Granted, my own lack of business acumen at the time coupled with an unrehabilitative desire to be an "important sideman" rather than a leader are as much a factor as anything, but after a while, hey - no real "creative music community" of fans, no press support at all, any/all recording has to be 100% self-financed & promoted/pimped (and no amount of pimping can get it on the one jazz station in the area), the venues start out wanting "something different" and then slowly but surely freak when they realize that they're actually getting it, on and on and on. You start becoming a legend in your own mind just to think that what you're doing might, on some slim chance, possibly "matter" . After a while, it all just gets silly, and...hey, I love my wife now more than ever, that's about all I'll say about that. Granted, I'm on the outside looking in, but it sure seems that Chicago jazz scene is alive in every sense of the world. It may be the only city in America where that's the case to the degree that it is, which is a symptom of something else, and a big part of why it is that I decided to fall back in love with my wife all over again. Jazz is not healthy, and jazz - as I fell in love with it - may already be dead, but from here anyways, it looks like of all the (many) places you can say that about, Chicago ain't one of 'em. That's all I'm trying to say.

All I'm saying is that there is a support system in place there that works. You don't get that everywhere, and to the extent that "jazz" is still alive as anything other than a music of "projects" and/or "entertainment" (neither of which is necessarily bad, just not particularly...whatever), it's gonna happen where there is a community support system, no matter how flawed, hyped, or otherwise less than Utopian it is. I don't know that there's anywhere else in America right now that is offering what Chicago is in terms of that type community. I did, however, preface that relocation spiel w/some pretty big "if"s, none of which are now current, nor have been anytime recently.

Most images are linked to other websites, but if you want a true attachment, look below the posting box, on the lower right, & click the Browse button. That will take you to your computer\'s directories, where you can select the files to attach. Select & file & then click the UPLOAD button. I think you gotta do it one file at a time, and I think there\'s a 100K limit per post. It\'s easier to link to a photo on another website (although some sites consider it bandwidth theft and do not appreciate it. But anecdotally, that seems to be a minority of sites. To do that, you can either write the HTML code yourself or use the button above the posting box. First, go the the online image you wish to link to. Then right click it and select \"Copy Image Location\". Then come back to your post, click that button, PASTE the link (the copied image location) into the box that comes up, close that deal up, and continue on. Or, you can write it yourself if you got crazymadd skills. The code is Looks like this: only with http://cover6.cduniverse.com/MuzeAudioArt/...e/90/606190.jpg pasted in-between. Somebody can probably parse this at least in half for you, but until then, I hope it\'s of at least some use.

If I was still of the age and inclination to think that I had something to say that needed a "bigger platform", there's only one place in America to which I would migrate, and that is Chicago. The support system - and talent pool - there seems to be wide, deep, forwards and backwards, and most importantly, organic in its relation to the music that is being made. I know of no other city in America about which that can be said to that degree. And if I had it to do over again, I would have moved the family there about 20 years ago or so. OTOH, the "fact" that Chicago is about the only place in America about which all that can be said is...telling.

I can't believe that she sat there continuously for two years. That's almost impossible.

That's good to know. Thanks!

Now that is so much bullshit right there. A critic only has has much "power" as people let them have. And looking at the history of jazz, I think that overall, people go with what they like, not what they're "told" is good. Seeing as how Hamilton, Vache, etc. seem to be doing just fine in terms of their career - by your own declaration - I don't see how Larry's opinion is wielding any adverse "power" in this regard. I mean hell, look at all the "critical darlings" who can't get a gig, and look at all the folks that "the critics" hate who are living just fine, thank you. Yet again, people who disagree are stigmatized as "irresponsible" or otherwise derelict in some form or fashion, and reality is attempted to be remade into the image of opinion. That kind of shit gives me the willies.

I don't understand the school of thought that thinks of Anderson's playing as "gimmicky". I mean, yeah, he's gone there more than once, might even have owned a summer home there for a while, but damn, the guy can deal when he has to/wants to, so I'd feel better with another mindset than "gimmicky".

I mean, ok, that was "clever" (and I usually abhor "clever", but I figure the guy's ignoring me, so what the hell), but c'mon - if your criteria for "music appreciation" is primarily from a "craft" standpoint (and don't get me wrong, there is plenty of enjoyment to be had from that part of music alone), then the types of arguments/points that Larry makes have no relevance to you. So if it doesn't appeal to you, that type of perspective on music that Larry - and lots of people, actually, has/have, I guess I don't understand the need to rip it apart. But now let's see: !) People who like to see jazz moving ahead really want it to move further away from itself 2) People who enjoy a lively disagreement are all assumed drunk until proven otherwise and now 3) People who don't give it up for good craftsmen & businessmen are "ripping apart" the music This is your world, eh?

Larry, the CEO wants to know what you got against businessmen.

Look at who all was alive in 1958 that the principles mentioned above definitely had first-person experiences with, musically and otherwise. Whole different life, whole 'nother world.

She wasn't. If she's 69 now, she'd have turned 30 39 years ago. 39 years ago would be 1968-69, and the show was over by then, I'm pretty sure.

Is this the same guy? Yes. And Rod's fine, or at least seems to be. Probably just busy. He's got lots of irons in the fires.

Thank you, sir!

Who was the Louis Jordan/Pete Brown-ish alto soloist on "Oh, Babe, What Would You Say?" This is weird: This is not: http://www.youtube.com/watch?v=scp2wJB4fFg...feature=related

Well, this is a question asked long ago (and Jim never did answer) but having acquired most of their collaborations recently, I'm curious where this one appeared. I've got it on a Capitol LP - The Dudes Doin' Business Capitol ST-569 If you thought that getting to hear Junior Parker singing "The Inner Light" (yeah, the George Harrison/Beatles sitar-laden song about TM) was a thing that would never happen in your lifetime, guess again.