JSngry

Just Plain Bill The Great Gildersleeve The Great Santini

Hope he's ok...

Is your "problem" with Lou, or with the entire thing? Becuase, disagree with it as I do, I can see it if it's just with Lou. but dude, those bands of his... you're talking the real deal there, and massively so.

What happened to Frank Gordon?

Having never listened to jazz before I became a musician, I honestly can't say if what I hear now, is the same is what I would have heard if I hadn't have been one. Maybe I've heard things "sooner", and I've definitely been able to "identify things by name", but as to whether or not I'm either hearing and/or feeling actual things that I'd otherwise not, I honestly couldn't/wouldn't want to begin to speculate. If, however, that was the case, would the opposite not also be likely? That a non-musician would hear/feel different things/things differently than a musician? And then, who's to say who's "getting it right"? I mean, I know plenty of musicians who don't have a clue how "average people" hear their music.

Not that it matters, but the new system got up and running last night. Now I just gotta see what's left on the old HD.

Hey, 5 is the new 2!

EXACTLY! He played Middle Class Soul Jazz, just like he played Middle Class BeBop. Middle Class ¹ Soulless, although it certainly CAN. But Lou proved that it didn't have to. It's just another wavelength in the Soul Spectrum.

Ah, here we have the crux of the matter! I understand how the earliest days of the Coltrane influence messed w/Pepper, but - eventually he integrated it. Chuck says he "lost much of" it, which may or may not be another way of saying the same thing, but I don't think that Pepper of the mid-70s and beyond (which includes the Vanguard material) was what it was if he hadn't gone through Trane the way he did. In other words, if Pepper had never heard Trane, I don't think that he would have evolved to the point to where he played like he did by the time of those recordings. No matter, count me as part of the minority (here, anyway) which prefers later Pepper. Similarly, I prefer later Mobley. In both cases, the later work ain't as "pretty" as the earlier, but there's an...immediacy, a feeling that there's no longer a layer of "music" between the music and the emotion, if that makes any sense. Which is not to say that that earlier layer was superfluous, or shallow, or anything like that. Far from it. Just that it seems like in the later work, it was no longer needed, that both players might have felt put upon, perhaps even belabored, to go back and play with that vibe again. As always, mileages can and will vary.

http://membres.lycos.fr/dianapoth/Diana.htm

in-DEED!

Allen, I love you, man, but on this one, you're en crannius recti. Man, it's party music for then-early-middle-aged-black-folk-who-didn't-necessarily-want-to-go-to-the-same-clubs-their-kids-went. What's the problem with that? I mean, this is "Sugar Sugar" & you're bitchin' cause it ain't "Eight Miles High" or "Third Stone From the Sun". It ain't supposed to be. It ain't tryin' to be. Man, there's some shit that a New England Yankee just ain't never gonna get. :g :g

Really? Not "heady"? Have we heard the same album?

Snowy! :tup :tup

You would be wrong, at least about me. I'm with you & Shawn on this one. But them Vienna Beef dogs, hey....

Monday, she who has found the way

Two more words: Click Here

And then we transitioned:

I deign say that there was Colt 45 before Billy Dee, and I remember it! http://www.youtube.com/watch?v=naslIwDvgkM&NR=1 http://www.youtube.com/watch?v=PLgr3NANe64

Except... in the "dance underground"/Gilles Peterson/etc. camps, all of whom are primarily "young" by any reasonable standard (although none of them would be considered "mass movements" by any stretch of the imagination), there is a considerable amount of interest in "contemporary" music with a jazz "flavor". The nature of this flavor ranges from a superficial stylistic affectation to a deeper adoption of the jazz, for lack of a better term, "state of mind", although it is of course coming through a "young" POV and only partially related to what we know as the "jazz state of mind". The former has been with us forever, but the latter has me thinking/wondering if this is not how jazz will best "survive" into the 21st century, not as a "style", but as a "spirit", a motivator. Bury the body and let the spirit go where it will go & be had by whom it will be had in whatever form it will assume. Me, at this point, I'm ok with that. YMMV.

It's pretty damn good stuff, imo.

On a happier note, didn't Valerie Bertinelli's Jenny Craig experience have delightful results? And on a simply bizarre note: http://www.augnews.com/category/valerie-bertinelli/