JSngry

No, thank YOU! :tup :tup

Potsie Webber Ralph Malph Raphe Malik

"I See Your Face Before Me"

Edwin Herbert Land George Eastman Rokusaburo Sugiura

It's only Sunday, but this is line of the week!

As is often the case these days for e, her remix releases are more interesting/fun/grooving than her original releases, and she ain't go jack squat to do with those, otehr than having a voice that works. And since this is pop, that's sorta the object of the game, really. I just hope she lives, just because. Seems kinda hellbent on self-destructing, that one does, although maybe she's the female Keith Richards.

Gerald Wilson Harold Land Don Ho

Kid Rock Billy Kidd Clem Kadiddlehopper

Corrina, Corrina Ruby, Ruby Short Fat Fannie

Does it make a difference in what you hear if I mention that the pianist is a student of Sal Mosca's? No, not really...the issue of ongoing Tristanoism is one that pretty much has me looking at it like it's some weird parallel universe that few can enter and even fewer can escape.

It's guys in their 20s. Does that make you think better or worse of the track? (Not a gotcha: I seriously want to know if it alters your opinion of the music.) Not of the music, no...but as with any type of revivalism (which I'm not necessarily opposed to from purely musical grounds, it's the philosophy where things get kinda weird for me some times) I gotta wonder what the object of the game is...BAdk then, it was more or less to "change the world", and, yeah, maybe for a little while for some people, but you still had Reagan & Marsailis, so there you go about all that. I mean, yeah, sure, I'd like to change the world my own self, especially this world, which needs it even more than the world of back then, but this world is not that world, and I don't see where using yesterday's weapons to fight today's battles is tactic that should be grounds for optimism. OTOH, it feels good, and if that's all they're after, tehn kudos are deserved. But I don't think we're far enough down the Dixieland Parallel Evolution Highway with this type music yet for this to be the case. People still tend to go here for "spiritual" reasons, if you get my drift. But I could be wrong!

Heheheh.... I kinda figured this track might divide people (& put it on here for that reason), because jazz fans tend to have strong opinions about how Monk tunes should sound, & also because (as you note) games with time signatures are getting a little cheesy nowadays. I think they bring this off, but I can see why it might irritate. With me, it's not a question of how Monk tunes "should" sound, it's a question of how are you coming at them, are you fully cognizant of what's being dealt with...If I get that the people are, then anything goes AFAIC. But this soiunds like some guys who don't have a clue about being "popular" outside of their own insular world deciding that one way to "reach out to people" would be to do something cute with a Monk tune. Well hey - Monk already figured out how to reach out to people, how to put his unique perspective into a palatable format for consumption outside of his own insular world, and that was his music. Not for nothing has it "caught on" so much in the last 25 years or so - "general reality" has finally caught up to what Monk knew all along. So to feel that you have to do something "cute" with a Monk tune (and I really, really hate "cute") tells me that no, you're not getting the point, and that if you would have been around back in the day, you would not have gotten the point, so how hip are you really, huh? I think it's corny, that's what I guess it all comes down to. Not that that's ever been an impediment to reaching a wider audience, but still...

Sophie Tucker Old Dan Tucker Dan Blocker

Woody Hayes Bear Bryant Bobby Bowden

That would be Dream with Dean, where Martin fronted a trio of Barney Kessell, Red Mitchell, & Irv Cottler. Most notable for having the original version of "Everybody Loves Somebody", which is a tune not unsuitable for some hard-boppish blowing if you up the tempo. Other that, I paid about $1.50 for a copy at t a thrift store, and am still debating whether or not I paid about $0.10 too much for it... Whereever Martin's undeniable strengths/charms as a vocalist lay, "jazz" was not in the immediate or near-immediate vicinity.

Bernard Ighner Quincy Jones Billy Byers

It's professionally dissonant. If the context was different, it would be hip as shit.

Seems like a tacky thing to do to a chair. Gotsta be a better way to raise money.

Ok, I'm later than hell to the party, and I got a buttload of very real reasons, but oh well about that, let's talk music, with the usual thanks and disclaimers firmly in place. TRACK ONE - Well, ya' know, my kids used to dig that Carmen Sandiego show on PBS, and this starts out sounding like Rockapella, but....I sdon't think so. It's nice, personal and nice. "Small", personal, and nice. Hey. It's nice to have a story to tell, even better to realise it, and even mo'better to actually tell it. Too many people don't make it to Step One. Kinda dweeby in spots, but that's what makes it personal. To thine own self be true, right? Do I love it? Nah, not even close. Don't even want to hear it more than a few times any time soon. But those few times, it'll be appreciated, and that, I think, is good. Perhaps even better! TRACK TWO - Good players making good music. And I am totally unmoved. 20 years ago, maybe. Two drummers, right? And to what end? Hey, I'm sure it's just me and where I'm at now, but this is serious in none of what are for me the right ways. Yes, there's a story being told, but it's a story that makes me...disinterested. Kinda like the reaction I had to a lot of ECM stuff back in the 70s - nice, and if it works for you, hey, dive in, but, sorry, I ain't feelin' it, nothing personal, ok, still love ya' babe. You know what I mean? TRACK THREE - "Green Chimneys", right? In 7. O...k....not sure why, but ok. Sounds like the latest installment of Second Line And Second Line-ish Shenannigans, and that's a game I've been a little weary of for quite a while, even when it grooves, as this one more or less does. There's a good rhytmic energy, but the whole thing ends up sounding like Jazz Guys Trying To Be Outgoing, and that's one ofthose things that if you gotta TRY, then... And Jeesus Phukking Kryest, don't get cute with a fucking Monk tune. DEAL with it, fuck with it, just don't get cute with it. That bugs me more than anything else. TRACK FOUR - I like this. It feels natural, the flow and the articulations. Natural is good. Getting cute with a Monk tune by playing it with a funk beat in 7 is not natural. A funk beat in 7 is natural, Monk is natural, hell even for some pleple, cute is natural. But in no vibrational system in which I care to even contemplate living is the combination natural. This, otoh, is natural. Lots of folks get off into this bag and force it, you hear the effects (not electronic effects, more like "techniques") more than the music. What I like about this is that I don't hear any effects, I just hear music. TRACK FIVE - Oh lord, again with the tightly wound vampy bass and drum hookup. For how many years has this been one of the mainstays of "new" jazz? Long enough that it ain't new anymore, I'm guessing.... Still, the sincerity of the trumpeter gets to me, even if I find myself wishing that these people would do this same type thing and just RELAX about it. You can be intense and still be relaxed. In fact, relaxed intensity is the most intense kind, I think, becuase it removes the possibility of anxiety and delivers the pure real deal. You might not think of Cecil, or Ayler, or late Trane, of=r Braxton, or etc. as "relaxed", but think about it, do they ever sound like they gotta rush off and go pee as soon as the tune's over? Hell no. But these folk kinda do. TRACK SIX - Well, somebody have studied their Pharoah (and to good effect!). Assuming that this is a recent thing, it's kind die-hard-y, going down withthe TraneShip at all costs now matter how long it takes for the thing to eventually sink, but I gotta love that at least more than just a little, if not necessarily with all the love in the world (unless these are older cats, and they just miht be). Thing about this type stuff is, when it was even fairly fresh, it promised, if not always revolution, an awakening. And for many of us, it delivered at least some of that. But you know....time passes, and what needs to be awakened now, although still the same as always, might be better awakened in a little bit less of a Rip Van Winkle manner. But still, the longer this thing goes on, the better it gets. I got to think that these are some people over 40, but who knows. If this was 1976, I'd probably rush right out and buy a copy! TRACK SEVEN - Again, too tightly wound for me. Can't get past that. Sorry. TRACK EIGHT - Less natural than the guitar thing, at least for me. I hear the effects at least as much as the music. But no denying the virtuosity involved, so props due there. TRACK NINE - This is nice. Not "nice", but nice, as in a good thing to have come into your life. The writing's steep, and the band executes, especially on ensemble phrasing, which in my experience is always the last thing to really come together/fall into place. Always nice (and rare) to hear music. Kudos to all, and no small bit of love to go with them! TRACK TEN - Seems like I might havee/have ehard this one...Vijay Iyler/Rudresh Mahanthappa, that axis? I like it, it's sort of an extension of M-Base, sort of, and M-Base is something that continued to evolve after the hype went away. Probably moreso, in fact. Now, see, this has that "tension" of those other cuts, but it doesn't sound tense. There's a relaxed fluidity at the root of all this, at least for me there is, and that makes all the difference in the world. I just don't want to hear people coming at me all nervous and shit. I cna handle concerned,w orried, cynical, and all that, but if you're root message is that you're letting it get to you and take your groove away and making you all nervous and shit, well hell, like the song says, I can do bad by myself. But these cats, hey, they can c'mon in the house. TRACK ELEVEN - I never was this old, nor do I hope to ever be. :g Okay, not a lot of "positive comments" from me here, but I do appriciate being included, as well as the effort to put together a nicely diverse collection of material. None of it was particularly familiar to me, and I deeply appreciate that, just as I hope my honest reactions are appreciated. I hope! Thing is, these days, with this type of music (i.e. "jazz"), I either feel it or I don't. Not a lot of in-between, especially with unfamiliar stuff. Any "brand loyalty" I feel is gonna be towards those who have already made it in, not to a "genre" or a "concept". So if hear "good jazz" but it don't hit me right, hey, sorry, no room left at the inn, try next door, they might have something open. That's just me, no disrespect or hostility, honest. My heart is full of love, but life is short, and I probably got just 20-30 years left, so... You know what I mean?

I'm just trying to imagine finding such a briefcase, walking off with it, and not eventually hearing footsteps...

Before or after you get out of the hospital?

Yeah, that's all over now...

Chan Parker Doris Parker Dorothy Parker

Dorthea Dix Tom Mix Jim Fixx