JSngry

Herb Adderley Peaches & Herb Watermelon Man

So far, so good. The new Dell XPS is running like a champ, and Vista Ultimate, although presenting "reacclimation" issues in terms of interfaces, etc. is actually turning out to be kinda neat. However, it looks like Vista is not an OS to "upgrade" to. Instead, it seems like it's one to "start over" with - new hardware, new software, the whole shebang. And only then if you can get stuff with the juice to make it do what it's supposed to do. And it looks like Microsoft's known this from jump: http://www.nytimes.com/2008/03/09/business...p;th&emc=th

Well now, sir, that might be fodder for the "musician vs non-musician differences" thread, because, yeah, I can separate composition from "delivery". Same thing w/arrangements, I can hear really interesting writing delivered pretty poorly (or just not quite "right") and still dig the writing itself. Don't know if that's a more or less exclusive musician's trait, though. But having been through, as both writer and player, the scenario of fine writing/composing not being delivered as...fully as possible due to the realities of life (limited prep time, the needs of the writing exceeding the skills/experience levels of some/all the players, improper/insensitive recording balance, etc etc etc), I can cut everybody involved some slack - sometimes - and look pst what actually is into shat could/would/should be. On this particular record, though, I don't really have that problem. Maybe it's "digital-itis" or something, that wierd lack of "there" that a lot of recordings from that time were still suffering from. I made my peace with that long ago, at least when the music demanded that I do so, and as you suggest, this is certainly music to which I would be willing to yield.

That's the famous one, but do you remember Gene Russell's (founder of Black Jazz Records) BFT from, like, 72, 73, somewhere in there? He made the same claim and pretty much nailed the results, down to saying that Thad/Mel sounded like "an integrated band". I find it interesting that everybody who cares remembers Eldridge's BFT but not Russell's...

What about the increased use of pentatonics and chromatics? That's the part that I think he best "applied back" to his basic style, eventually.

Interesting... I'm not a real heavy Douglas buff, so I'd like to find out what/how he's been doing to champion this music, which I myself have dug from Day One (does that make me ready to be Commander-In-Chief of Jazzdom? ) Has it been by covering some of the material, some written/verbal championing, or just what? Those albums came at a funny time and in a funny way, really. What was left of the "fusion scene" found the music too abstract, almost all of the "jazz audience" was disappointed that Wayne wasn't going back acoustic, and in general, people just couldn't figure out the whats and whys of this music, and they really weren't too interested in doing so either. So it came and went pretty fast. But hardcore Wayne-heads like me and a few of my buddies were really into this stuff, the compositions, the forms, the textures, how it all sorta seemed like a Plugged Nickel solo broken down and put back together as a composition. Maybe not a lot of people wanted their Wayne that way then (or now...), but he did, and he put it out there in a form that was just dandy, I thought/think. The only real "critical acknowledgment" of the intricate, personalized, and unique nature of this music that I ever saw outside of immediate reviews of the albums themselves was one guy in Musician magazine who was reviewing a Gary Thomas side, maybe Code Violations, and he said something like "Gary Thomas has some ideas floating around in his head that could make Wayne Shorter's current music sound like nursery rhymes" or something like that. Punkass as that might have been, at least somebody was hearing the Waynemusic of the time and recognizing it as something other than Weather Report redux or such. The Dumpy one is correct too, the touring bands he had then were hot. They really opened up/loosened up those compositions (as working bands will tend to do...), and a view televised festival appearances were made. Probably some live shows have been Dimed, but that's a world I've yet to enter. Have I mentioned that I really like the music on these albums? To me, that whole phase of Waynemusic culminates in High Life, an album which to my surprise caught the ear of a lot of people who had slept on the Columbia stuff. Maybe there was now enough space after Weather Report, maybe Wayne had been off the recording scene for a while, or maybe it was just such a damn perfectly realized album that people had to pay attention.

That's not an inadequate response, unless you really feel the...need to know the technicalities. Why you'd have that need if not a composer, player, whatever, I can't say, but if you really do have it, then that's to be respected. Otherwise, you've been reached, moved, stimulated, and captivated by prime artistry. It don't get a helluva lot better than that!

Why are people always looking for ways to "prove" their "difference"?

And my favorite rendition is by Louis Armstrong, found on the originally issued version of The Glenn Miller Story soundtrack album (not the later issued version, which uses a different, less epic performance) . Maybe because it's one of Louis' greatest performances ever, I think, and/or maybe because it's one that I've heard literally almost all my life, since my folks used to use that album as one of the records they'd play for me to fall asleep to in the crib. Then would be Miles', which is just so... out, almost melodically reductio ad absurdum (Latin for "reduction to the absurd", don't wanna violate the Stapleton rule ) and harmonically extrapolated/expanded to an almost abstract level that it's nothing if not the sound of a shark moving forward.

"Most personal" is something I'm less than sure about, but I certainly agree it's a very interesting album all the way around. I think that all three of those Columbia albums were all a little..."experimental", maybe not as fully realized as they could have been, but that happens sometimes. Now, High Life, that's the one that puts all those pieces together for me. That's a brilliant piece of work right there, one that is both fully unique and wholly realized. The thing about all those albums, though, is that they're first and foremost compositional albums. People get all quizzicaled out about them, like "Why isn't Wayne playing more?" Well, because it's not about the "soloing", it's about the compositions.

No, what they are saying is that couch potatoes usually get fat and lazy and end up dieing sad and disgusting deaths. I find it hard to have a serious discussion with somebody who assumes Point D from Point A. Unfortunately, that's a lot of the "jazz world" today, so you're in good, well, plentiful anyway, company. Enjoy the guacamole.

'JSngry for president.................. Ah, the Cut The Crap Party hears your plea!

I remember that Gordon actually had a little microminibuzz in down beat back in the day, a really WOW type mention in a review or two of Awakening sides, and a published solo transcription, all in the space of about a year or less. Not everybody gets that, ya'know?

Ok, but I'm with Chuck on this one. I found no implied negativity towards Coltrane in his comment. Simple misunderstanding/miscommunication, it's Friday, been a rough week, etc etc etc, we all dig Pepper & Trane, so hey. It's all good. Let's all have a good weekend, because we lose an hour sleep this time, and Monday's gonna be a bitch as a result.

I think we all need to chill out and take a good dump!

AND defecate!

What, finding attractive women attractive is creepy, but holding you shit in for as long as you can ain't?

A melody from Ravel over the changes to "So What"?

http://www.collegecandy.com/buzz/3250 wow, she's only 18 and not pimping herself at all. That was all done without her knowledge or consent. That's different. I mean, she's still beautiful and shit, but...

I wonder if she hears him coming...

I would only add that Sonny Stitt made a fair amount of perfunctory music in all genres, not just groove music.

Look at the times - the big, overriding theme was "say it loud, I'm black and I'm proud". Now, what African-American jazz musician, middle-aged, middle-class or otherwise, wouldn't take heart in that? And if you were "popular oriented", as Lou had always been as a bandleader, why wouldn't you want a piece of that action? This ain't Buddy Rich in a Nehru, dig? This is a people seeing their young people make a real move, a move that they themselves had been building towards and hoping for. And now it starts to happen. How do you not get caught up in that somehow? It was so not just about the beat. As afar as the actual music goes, hey, whatever, if you dig it, don't, ambivalentize it, that's not my point. My point is that seeing "aging artists who were already v. funky in their own ways trying a little too hard to be FUNKY in the then new post-JB sorta way" is a little more organic than might be being acknowledged.

But if Brownie were lurking around, he might put in It's "vive la difference"! MG Hey, that's not French, that's TEXAN!

It's also worth pondering how the whole "hearing the specifics" vs "feeling the whole" thing breaks down, if in fact it does. Bottom line for me - I think it would be rare for any two people to hear/feel anything exactly the same way, so it's all really "points along the way", and vive le difference more often than not.

whoa....