JSngry

Soap-on-a-rope, baby.

Why should they be? http://vids.myspace.com/index.cfm?fuseacti...VideoID=5042753 The next act at that club: Man, if I had $30.00 for every 5+ hour gig I've played at a joint like that. Wait a minute...I do have $30.00 for every 5+ hour gig I'd played at a joint like that.

Maybe it wouldn't hurt if jazz got exposed to some young people either.

Why should they be? http://vids.myspace.com/index.cfm?fuseacti...VideoID=5042753 That's basically 40 year old music being played in a way that still reaches out and grabs you by the gumptions. Show me somebody today who can do that in jazz. Take all the time you need. I'll leave a forwarding address in the morning, ok? There's a handful of "today's jazz musicians" who make music of today that grabs one by the gumptions, but unfortunately, they're nearly all tainted by that dreadful funk, fusion, and free jazz crap. It's the curse of Satan that those "musics" ever appeared. If they hadn't, Art Farmer would still make all the chicks wet. It's a world gone wrong when young folk wanna use their youthful energy for youthfully energetic purposes, I tell ya'. A world gone freakin' wrong. Me, I gotta have music that's real about sex. god, keeping your soul while dealing with bullshit, or some combination thereof. Get 'em all three in one, and you got Thee Perfect Music, regardless of genre and/or age of performer/audience. Otherwise, you got Music About Music, which deserves all the audience it gets. Or doesn't get.

Thanks for the list! Keith Jarrett was on in April 78? I can't imagine him on SNL. Hey, Jarrett was quite the Cult Figure back on those days. The one I still haven't gotten over was Betty Carter. She made no attempt whatsoever to "ease" anybody into it, just BAM!!!

That WAS one to see. Ray reunited with Fathead, Hank Crawford, Marcus Belgrave, and (I think) Leroy Cooper. Yep. And Ray played some alto too.

Yeah, I remember that one too. That was another memorable one, as Costello was in full early-anger form and freaked everybody out by changing songs midstream, starting "Less than Zero" getting a few bars into it, stopping abruptly, and then kicking hard in "Radio Radio". No idea if it was planned or not, the given explanation post-show being that Costello thought that the originally planned song was too British-specific so he called an audible, an yeah, ok, but planned or spontaneous it made for a riveting TV moment, and if you're old enough to remember that little window where all things "punk" (and how ironic in hindsight now to think of Costello as such) carried with them a genuine anarchy, hey, it was a moment.

FWIW, a streaming-only tes would present problems for people like me who often listen to them on the go, specifically at work, where Internet access is restricted and/or monitored.

Waaaay back in the day, our HS "stage band" purchased a set of "professional" (ahem...) arrangements. We ended up using two - "Outta Sight" by Benny Golson & "Summer Snow" by Enevoldsen. The latter was righ in woodwind doubling, brass mutings, and a vibe/guitar lead. Our director was a reformed (again, ahem...) gig rat who called in a favor from Rich Matteson, who had not yet assumed the position (ahem X 3 ...) at NTSU but was living in the DFW area. When Matteson saw the Enevoldsen chart, he promptly went off into a spiel about how freakishly talented a guy Enevoldsen was, how they got to know each other working the in Tahoe, how summer snow was uniquely beautiful, how it was not uncommon in Tahoe, how Sammy Davis. Jr. was one of the greatest, most giving people he'd ever met, and a joke involving a Jew, an Arab, a fly, and an airplane, all in less than 10 minutes. You don't get high school jazz education like that anymore, folks. You just don't.

Haven't heard a big lot by Gismonti (some ECM sides, some Brazillian releases), but nothing I have heard has been less than totally captivating.

I think that Zawinul's first American recording session was w/Dinah Washington, on the session that produced "What A Difference A day Made".

I don't know for sure, but I suspect it might be because the soundtrack was only leased, not owned, by Columbia. I suspect that the lease was a rather limited one, because the US Jazz Track LP is one that I have only rarely seen eitehr for sale or in private collections, leading me to believe that its origianl availability was limited. The later, sextet, portions of the Jazz Track LP first(?) began to resurface in the US 1970s on Basic Miles (& before that on the French CBS Facets). I have to think that the fact that there's not quite a full LP's worth of material from that session made for some..."packaging dilemmas" through the years. Basic Miles itself is a mix of "rarities" and very common material, indicating to me that there was not yet a clear view of how to best package the material. Anybody older and/or wiser than me (and/or with access to an old Schwann showing when Jazz Track was deleted), please feel free to correct as needed.

Explore at will: http://globalia.net/donlope/fz/musicians/A-C

If George Callender = Red Callender, yeah.

http://globalia.net/donlope/fz/related/Burt_Ward.html#Wonder

Episode 51 November 12, 1977 Ray Charles Goosebumps.

Be amazed: http://en.wikipedia.org/wiki/List_of_Satur..._musical_guests

Count me in!

There's a similar joke about a cat who develops a mental block about the bridge to "Over The Rainbow", continuously blanks on it on gigs, gets distraught, runs out of the club, throws himself in front of a speeding car, and in his final seconds of life hears the ambulance's "DEE dah DEE dah DEE dah...". Quite funny actually, if told right, but almost impossible to replicate in print.

Nathan Davis & Henry Franklin, eh?

Federal, no doubt.

The Purveyor Of Idyllic Romantic Tomorrows: All this can be ours, Tenderly. The Lynn Hope PeopleFans: How can it be, when we live in a world where we are blatantly & violently oppressed, used, buked & scorned? The Nasty Man From In Off The Street: Y'all just leave that to me. Until then, stay beautiful. The Lynn Hope PeopleFans: We can dig it. For a little while anyway...

There were two sides to Lynn Hope - the Nasty Man From In Off The Street & The Purveyor Of Idyllic Romantic Tomorrows. They were both equally real, and as a precursor to By Any Means Necessary, endlessly intriguing in concept, if ultimately less so in actuality.

In review (of sorts, or not): http://www.organissimo.org/forum/index.php...41&hl=dance