JSngry

Wrong tact, trying to get her into something you want her to like. Nah gunnah wuhk. Instead, try taking the stuff that you really hate and start acting like you really REALLY dig it. In not too much time, she'll start liking it less and less. Besides, most of the stuff I like in these areas are things my kids either don't like or are somewhat noncomittal about. But that's cool - they listen to what they listen to for their reasons, and I listen to what I listen to for my reasons. Gotta say though, that some sort of Public Enemy "Best-Of" oughta make for some warm family memories. The girls all know Flav these days, and the guys still dig Chuck D's edge. So it'll be two different sets of reasons digging the same music. But it's good stuff, so hey, take it.

Most likely.

I hadn't even heard about the In Our Lifetime deal...wow...great marketing these guys got. Just ordered it, though, with <200 left. So anybody interested had better carpe diem, I'd think. And thanks for the headsup yer own self!

Yeah, well, we got three tenor players too - Pres, Newk, & Trane. :g :g

Not all that thrilled w/the former, but very much so w/the latter, if only to be able to trace-in-reverse the evolution of "To Keep You Satisfied". Were those cuts in that 4-disc box?

Another thing I like about the remixes (I'll go ahead and call them that) is that both the vocal & instrumental tracks are (mostly) presented dry (i.e. - without reverb). This hikes up the detail significantly and, imo, most effectively. Marvin was not a particularly deep "musical" thinker. I mean, gorgeous tunes & great changes, but all "of a piece" if you know what I mean. But my god, what a singer, what a voice in the service of some emotional & spiritual matters that are deep. A project like this, which uses the materials of the original work to highlight different facets of that depth is every bit as exciting & satisfying (to me) as is one like Motown's previous Expanded Editions of the What's Going On and beyond material, where that depth is explored through the bulk of previously unheard material. It'll be interesting to see what, if anything, they do with In Our Lifetime, another Flawed Masterpiece that pretty much flopped in the marketplace of the time (which probably has everythingto do with why Motown proper has given it a glancing blow of pseudo-recognition in the CD era...) yet has developed a cult status since, a status that I feel i s more than justified.

And for my money, "When Did You Stop Loving Me, When Did I Stop Loving You" is the ne plus ultra chronicle of love - deep, spritiual love - gone irrevocably wrong.

Received yesterday (but minus the "richly textured 28-page booklet, packed with full lyrics, an essay by Gaye biographer David Ritz, and two sidebar essays detailing the creation of the controversial cover art and the making of this edition. In true Hip-oSelect.com style, also included are comprehensive recording and musician annotations for the first time", and we're working on that one right now...), and all I can say is yes. YES!!! The original album is still there, and the the new mixes/versions/whatever (the company goes to great pains to not call them "remixes", presumably because there's "no overdubbing", but hell, I call remix, and proudly!) are quite often stunning, bringing out as they do A) features of the original tracks that were less than obvious in the original mixes; B) alternate vocal/instrumental performances; and/or C) reusing the original tracks in a wholly visionary manner. For the latter, I'm thinking particularly of the "alternate version" of "Falling In Love Again", which begins life pretty straight-ahaed, but then all of a sudden the drums drop out and all these Rhodes swirls start coming up and over, and little by little all sense of "here" is removed and you're transported to an ethereal yet still real "some other place". The effect is not unlike having the song running through your head, suddenly being shot, and having the song continue to play in your head as your life in this plane slowly but inexorably wanes away and you transition into....someplace else. Given that this is Marvin, it's hard for me not to feel it like that, although the "intent" of the "alternate mixer" Salaam Remi (and why the fear of the term "remix" anyway?) is not known (or if it is, is in the "richly textured 28-page booklet, packed with full lyrics, an essay by Gaye biographer David Ritz, and two sidebar essays detailing the creation of the controversial cover art and the making of this edition. In true Hip-oSelect.com style, also included are comprehensive recording and musician annotations for the first time" which I did not receive, GRRRR...) but that's how it hits me. No secret that if ever there was such a thing as a "flawed masterpiece", it was Here, My Dear. This expanded edition doesn't remove any of the flaws, but it does accentuate/highlight/drive home the masterpiece, even w/o the "richly textured 28-page booklet, packed with full lyrics, an essay by Gaye biographer David Ritz, and two sidebar essays detailing the creation of the controversial cover art and the making of this edition. In true Hip-oSelect.com style, also included are comprehensive recording and musician annotations for the first time" which I BETTER get a response on. Marvin Gaye was and is one of "those" artists for me. If he was/is for you, and if the "gap" between "Got To Give It Up" & "Sexual Healing" is one that exists for other people, not you, then I think you'll want this. Just be ready to shoot off some e-mail about a potentially missing "richly textured 28-page booklet, packed with full lyrics, an essay by Gaye biographer David Ritz, and two sidebar essays detailing the creation of the controversial cover art and the making of this edition. In true Hip-oSelect.com style, also included are comprehensive recording and musician annotations for the first time".

Well hell dude, the Miles airshot w/Jaws & Bick Nick both on the stand ought to settle all claims there.

I've been wracking my brain, trying to imagine what he could have been doing. I know some guys cork up the wierd trill keys on their old Conns, but all the photos of Jaws show him playing Selmer horns. A quick Google of "Lockjaw and cork" just turned up some concerts he played in Ireland. Any ideas where to find out more about this? You're not the only one to be wracking their brain trying to figure out what he could do to a Selmer and still have it playable. It defies any & all logics that I can come up with. A right hand side key is the least intrusive thing I can come up with, and even then, that's pretty damn intrusive... And yet, from a Johnny Griffin interivew by Mel Martin: http://www.melmartin.com/html_pages/Interviews/griffin.html Also, Shelley Carroll has mentioned seeing Jaws live and noticing something weird about the horn, but he couldn't get up close enough to get the details. Griff's one of the few left alive who might have the real deal specifics. The Tenor World needs to get this information!

Yeah, but imagine how much hipper it would have been if the DJ had been jammin' "Don't Believe The Hype" at the time!

Elaborate, please? listening to invention(1968), from that soul note disc for that time period with gaslini's big band, it, to me, has a bit of the feel of braxton's 1975(?)creative orchestra recording(though not as edgy). my muscal knowledge is less than 0, so feel free to chasten my uninformed ears. :rolleyes: No, not at all! I was looking for exactly such elucidation. Thanks!

Jaws did some weird shit to his horn physically. Corked up some keys so they were inoperable. Damn if I know how that worked, but it's true.

Arby's? Snack food? To compensate for Max would require Morton's or some such.

I play plenty of corporate parties where they say they want "jazz" but they really want "pseduo-hip unintrusive background music" So you give them what they're paying for. Just as boring to play as it is to listen to, possibly moreso. I got no problem with the woman's writing style myself. If that's her age, she's of a demographic that came of age in the era when the "cultural model" for jazz was the Marsaillisian suits and seriousness in the service of Legacy And Tradition. "Partying to jazz", something that a lot of us had done before (and still do!) was considered gauche and undignified. So between the corporations wanting a sanitized version of the real thing for their parties and jazz itself wanting nothing to do with partying and everything to do with concert hall$ and other dignitie$, I fully understand what she's saying. And I wish I could have taken her to the old Recovery Room back in the day to hear Red, Heavy, & Marchel. Now, THAT was a jazz party! (and btw - there's soming a time not too far off when the type of hip-hop refernced here is gonna take over from "Motown" as the cross-cultural "Hip Black Music Of Our Youth". My folks had the Swing Era, I had The 60s, these folk got The Golden Age Of Hip Hop (and it did have its moments...). So be ready for a lot more of this type "nostalgia".)

This is a valid point, but otoh, owning as many Hawk & Rollins sides as I do that feature Flanagan, I gotta say that on those albums he comes across more as "quality breathing room" than somebody to listen to with the same interest/intensity as the leader. But another point - pianists aren't valued just for their solo abilitiies. They're often hired because of their accompanying skills, sometimes primarily because of their accompanying skills. And on that score, both Jones & Flanagan are more than merely competent. It's still a group music, even when it's solos + accompaniment.

I've been thinking about this remark and I have to agree - you made a mistake. Sorry Jim. Hope that helps. Bunches!

Elaborate, please?

Elaborate, please? I think I know what you mean but am not sure. For me, hell yeah, Jaws IS a god. There's no other explanation for how he made the tenor do some of the things he made it do.

Oh wait, I think I get it now - it's my turn to be upset, and for somebody else to sit there and wonder aloud what I'm upset about! Nice role-reversal trick!

All I've said is that I really don't understand the source of such apparent extreme discomfort. And all I've meant is that I really don't understand the source of such apparent extreme discomfort. And all I've really heard so far is that "I'm uncomfortable because of A, B, or C", when A, B, or C is apparently entirely subjective, since there are people whom A, B, & C doesn't bother. If somebody/anybody could give me some sort of background, some sort of personal/cultural/whatever insight, some specifics, I would greatly appreciate it, because frankly, I'm starting to feel that I'm being insulted for not being insulted about something that I have absolutely no idea what it actually is, or perhaps even because I have absolutely no idea what it actually is! If this is one of those "I'm not going to tell you what I'm thinking because you should know it without me having to spell it out for you" things, then, yeah, I got no interest in playing that game whatsoever. After all, this is a community, not a marriage.

Braised pork belly with chick peas

To me, this was a game that had meaning. I'm hearing locals mentioning in in the same breath as the Buffalo game, but there's no comparison in my book. That game was a lackluster, goofy, even, effort against a team that could/should have easily been beaten. This game was different - Detroit came to play and brought their A+ game. Detroit is not an untalented team, and today, the buzzsaw effect was in full force. Without some top-notch Dalls redzone defense forcing FGs, the Cowboys might well have been trounced beyond recognition. As it was, it was definitely shaping up to be one of those classic "On Any Given Sunday..." games. Instead, they got some help from a missed FG, were able to overcome Witten's shoke fumble, and come back, cooly and calmly, and get it done at the very lest second. It didn't have to go that way, it maybe shouldn't have gone that way, but it did go that way. I've maintained from jump that this was a very good team in the process of possibly becoming great, taht there would be hurdles and tests along the way. This was definitely one of them, I think, and I was impressed at how they got over it. What I'm waiting to see now is next week against the Eagles, a team that's been playing like a wounded dog all season. If Dallas rides in too high from this week's in my mind significant step forward, they might get knocked back down and chewed up quicker than they can do anything about it. Like the man said, that's why they play the games...

As for "industry impact", that's the band's call all the way, and I would expect them follow their consciences, which at this point it seems that they are doing quite nicely, thank you! Ok, Che (as I recall it, which isn't with total clarity, because I let it go once it was over) - I remember that being handled in a "give him enough rope and see if he hangs himself" manner. Sure enough, he did, and he got his. All I can say about that is that letting a fool do it to themself usually takes longer than doing it for them, but you don't create a martyr in the process. Short term pain, long term gain in that regard. Now, if anybody's holding onto a grudge about that, I ask them this - is he still around? Is anybody wanting him back? If he attempted to return, would he be welcome? The answers are no, no, and not likely. Unlike another poster who was banned and then let back in, Che showed no signs of being anything other than a malevolent troll, and nobody that I can think of in this forum can quote one positive contribution that he made. Yes, the "free speech"card was played, but only to give this guy every opportunity to show that he could contribute positively, if only occasionally. When he failed to do so, he got the boot, and as I recall, it came fast and unambiguously, and it was over for him. I'm sure that way of handling the matter upset some, but really, the ultimate outcome speaks for itself in terms of where the board's management's heart truly lies. Some might not like the time it takes to get there, but doggone it, it will get there, and when it does, it's there for keeps. If one wishes to value "speed" over "ultimate outcome", then that is their perogative. We all have our preferences, and there are things in life that I wish/think could/should move faster (or slower) to get to where they should be. But it ain't just about me, and as long as the final outcome gets to where I think it should be, I've learned (slowly, very slowly...) to just grit my teeth and wait for when it does, at which point I can breathe a sigh of relief and get on with my usual business of finding something else to be unhapply about. Now, "cattiness", yeah it gets on my nerves too, sometimes. I mean, I love Chris to death, my god, what a life and what a contribution he's made, but hey - Orin Keepnews, John Hammond, and some others were self-serving jerks, I get it already! Specific anecdotes relevant to particular threads are ok, but the casual insertions of the general assertions, yeah, I gotta roll my eyes sometimes/frequently. But here's the deal for me about that - this isn't a "discussion board", this is a community, which is a whole 'nother thing. Community involves stuff like acceptance, forgiveness, and in genral just giving people you love some space to be who/what they are even if you don't always dig what they do with it. Why? Just because. Or maybe because a community can exist only when/where people feel comfortable being themselves, imperfections and all. If you listen to Chris, yes, he fights back when attacked, but he also will pull back when approached with respect and civility. Once again, the final outcome is perfectly cool, even if the road to it ain't always so. I look at it like this - cats like Chris & Chuck have paid dues that most of us can only begin to imagine, and yeah, that's gonna leave scars. If sometime those scars hurt to one degree or another, that sucks for them, and the "discomfort" their pain causes the rest of us (when it does) sucks too. But dammit, what good is a community that only wants you when you're showing your sunny side? That's not a community, that's a freakin' JOB, dig? There's gotta be some love in the mix, and love ain't noways near always pretty. I'm not asking anybody to not be bugged at some of the shit that goes on here. That would be hypocritical of me, as I too have irritants to deal with here, just as I do in the rest of my life. I only ask that people look at the bigger picture and ask - when the dust clears, has the really bad shit been dealt with? And are the people who are sometimes bugging you with their sometimes behavior people with whom the community would be better off without? As I look back at this community's history, I can honestly say that the answers to those questions are yes & no respectively. And that's why I love this place, warts and all. When it gets a little too thick, I pull back for a couple of days and come back. And when it's good, hell, ain't no place better for doing what it is that we do.

We still love the Fathead here!