JSngry

JFC! Any even half-qualified saxophonist knows this! And guess what, Poindexter - you're usually going to need to lower & open your throat to hit the low notes too. They actually pay people to write shit like this?

Hey, I'm having a good day here, it seems!

Juat mean that I "free associate" musically, and without too many limits or boundaries or whatever.

And btw - if we're going to get "familiar", please call me Jim.

Again, thanks. But really... I'm not a "writer". Larry Kart, Chris Albertson, & Allen Lowe are writers, and damn good ones at that. I'm just a guy with feelings, opinions, some semblance of syntax, a computer, and some experience in music as both player, listener, and fan. You'd probably have a better time coming over to the house for some drinks and letting me play Rambling DJ. Warning though, I "stray" from jazz freely, gladly, and wildly. But it all ends up coming back home, at least to my home.

Amd my god, Warne was one helluva dancer!

Hey, it's cool. I myself have found myself quite unexpectedly hearing/feeling new things new ways over the last few years, none of which supplant the old, just seem to pave a road ahead coming out of the old. I've been finding that only a few people "get" where I'm coming from on this, so ok, I've been out there almost alone before, it's all good, and I'm digging it all very much, it's not at all "closing off" anything from before, it's "opening up" something for the future, growing the plate rather than changing it, so let's just all go where we see the light leading and do no harm going there, or not going there, or staying still, if that's where our own lights lead, or don't. I will say this, though - I've become very, very aware of the subtle yet profound differences in "groove", between what simply "works" & what is actually right. I thought I had already known that, & I kinda had, sure, but when you get into a music that is almost all rhythm by design, where the groove is the point, well, little differences that might not have mattered before because there would be other "things" going on to distract/compensate/etc. suddenly matter a lot, because that's all there is, and it had better be "good", it had better be right, as in connected and conducive. Now, has this affected how I hear jazz? Of course it has, and whether it's been for the better or worse depends on to whom, I'm listening & whether they are good or whether they are right. It's also made me realize that rhythm is for me personally the base element in how I feel, think, play, & hear all music. I've also become even more aware of how sound and rhythm are connected, how the attack of a sound is a rhythm in itself, as is a sounds timbre. Hell, right now I'm hearing pretty much everything through the perspective of rhythm, and truthfully, I've never been happier with how I'm hearing it, so long as I'm hearing something that sounds alive & dancing (and by that I most assuredly do not mean just "dance music!). If it ain't dancing, if it's just chore music or reflexive stationaryism or otherwise just loitering and/or killing time rather than loving it, hell, that's never sounded worse. And thank god for that! But that's just me. Like I said, a lot of people have told me I'm crazy or something. Oh well!

Glad to be of service!

Exactly, and "song" does not equal "record" either". "Record" = song + performance + arrangement + production America has mostly been a singles-oriented musical culture even before recording began (sheet music used to be the big thing).

There has been. Maybe The Industry is sick of itself. Or maybe it's a Joni thing. Or maybe that "crossover" album that Herbie did last year had him "in the loop" for this one. Who knows?

"Record of the Year" refers to a single.

I don't think so...

And all that he could see was...? I like early Evans, though. Maybe he should have kept sitting up straight.

Why was Bill Evans sitting up straight?

http://www.organissimo.org/forum/index.php?showtopic=39430

I picked it up around 1976-7 or so & it had already changed. Never knew that it had been changed until now. I think I like the original better too.

Still? Damn...

What Joe said, except that I find that "deadly" background to be quite the opposite. You want deadly, try standing in front of imposed ching-chinga-ching or any # of its variants all night. For some people, that's "classic", but then again, so is a wax museum... And Alexander - I've gotten a few Japanese things that are all in Japanese, but they're usually things that have no "crossover" appeal, real or expected. Monday's audience is "cultish" but also international, as is the house/acid jazz/etc scene in which she initially came to the fore (after "You Make Me" was actually a bit of a hit, her stuff started getting European as well as Japanese release, but that apparently stopped when she had "creative differences" w/Universal Japan over 4 Seasons & ended up w/o a label deal). Routes, was actually made for/through ArtistShare and therefore for all intents & purposes was self-financed. Geneon signed on as Japanese distributor to better service the audience that Monday has there (and also to give here a little bit of change for the privilege). They also got - insisted on, apparently - a bonus cut ("Sketches Of Myself", a freakin' marvellous tune, one of the first ones to really start fucking with my head as to how much "there" - and how many of them - there was existing simultaneously & wholly organically in her music) that was left off the AS versions (although it's available as a download there somehow) of the album.

Tapping her would be an accomplishment in one sense -- like breaking into a cave where the world's entire supply of PMS was stored -- but not much fun, I reckon. I think otherwise!

Both Alice Russell & Amy Winehouse get remixed by the "white label" crowd some, & truthfully, I like what the remixers put behind their vocals more than what gets replaced if for no other reason than it brings better attention to the vocals.

Sounds like Duke, no?

It's often hard for me to like Ellis, but never to love him. http://www.donellisfilm.com/ http://www.youtube.com/watch?v=Bd0fgpN_Rcg&NR=1

Dude, allow me to urge you to check it out. Shit had me talking back to him as he played, sometimes! It's in here:

Oh, I can, and have. But only among people I know will "get it" (and golly gee, there are such folks!). I mean, personal resevations aside, if you get as much "youth talk" in your face as I (and some of my peers who also have actively engaged relationships with their older youngsters) do, after awhile, it starts making sense in its own context, and, hey... Dave Chappelle is a funny motherfucker, if you know what I mean... Besides, "street talk" is something I kinda grew up with anyways, so the "attitude" isn't all that "unfamiliar", and if I pretend to be shocked by shit that I myself once indulged in rather freely along the way,, hey, not a good thing, really. But, as related on this board at least once in the past, I have seen real pimps in action, doing their dirty work on a woman or two who displeased them, so the "pimp" metaphor is one that I use very advisedly in general conversation, and even then, if I think about it, I get queasy. But I digress... Shuster's error, imo, wasn't one of usage, it was one of judgment. No matter how "cable-y" the MSNBC culture is (and frankly, I watch them a lot for political news/coverage specifically because of their "clubhouse" vibe - politics being the ultimate clubhouse in my mind, so why not?), it's still an annex of the MSM, and as such, only so much "steet cred" - real or posed - is allowed before things get...antsy. But to turn this another direction, maybe - just as Bill Clinton doing the MTV thing in 1992 was a "positive signal" to that era's "young voters", might not the Clinton's rather...energetic response to Shuster's flippancy send a different signal to this generations' same? I gotta wonder...