JSngry

I also understand that they did some uncredited backing vocals on an early-60s Dinah Washington album as well.

Myron was coughing like he was one toke over the line...

Not at all true.

Why am I thinking that the Biddy Fleet thing ain't that big a deal? Are there any taped transcripts of the original interview? No? So what we have here is "mythology". A mixed blessing, mythology is, but I'd probably rather live in a world where I had to cut through the bullshit it creates than one where I had to cut through the bullshit the lack of it creates. The interviews with Bird that I have heard have him speaking in all manners of manners, depending on the circumstances. Seems that I've heard a tape of at least one (other?) interview w/Marshall Stearns where Bird is just saying shit just to get through it all while Stearns is poking at him like a laboratory assistant intent on convincing the specimen that nobody means him any harm. It's not inconcievable to me that he did make mention of the Fleet gig being some sort of "breakthrough" for him. Whether or not he actually used the "upper intervals" lingo is another thing, but really, does anybody take anything literally that gets quoted in a jazz magazine article, especially anything technical? C'mon! I can tell you that I learned my lesson the hard way. I once played a gig at a chili house in Fort Worth. Memories of the faux-Birdquote resonating in my mind, I found some biddy to administer a Fleet enema to the upper intervals of my intestinal tract. For the rest of the night, I couldn't play a damn thing I was hearing, as I was backed up against the toilet seat, and although I certainly came alive, it was by no means in a positive way. So maybe it is that big of a deal, and that Gushee guy's grumpiness is justified after all. I certainly hope so.

Elisha Otis Oskar Schindler Garrett List

Further research shows a 1965 Vee-Jay LP called It's Not Unusual that seems to have some jazz (or jazz oriented) material on it, including the aforementioned "Lil' Darlin' " (with lyrics that talk about "Don't dream of anybody but me", are these the standard lyrics to the Hefti melody? By whom were they written?). Anybody know if the entire album goes that way?

If you're like me, and only look on e-Bay for stuff that nobody else likes, sniping is not a necessity. Kinda like the cutout bins used to be, only not as much fun or as inexpensive.

Why?

Their version of Lil' Darlin' sounds like the freakin' Hi-Los or something!

A few of us tenor geeks around here have a phrase for the Jaws/Griff records, and for Jaws' playing in general - Big Dick Tenor. It just seems....appropriate. You ever see the Swingtime video of Basie w/Leon Thomas doing "Shake, Rattle, & Roll". This is 65-66 or so, before Leon broke out. Jaws steps up front, plays a totally wicked solo, and then goes back to his seat by stepping over his music stand - backwards, and hardly looking down, if at all. It's as nonchalant a badass move as any I've ever seen. Big Dick Tenor indeed!

The casual horn toss @ 2:04 tells you all you need to know.

Is this anything like The Santos Brothers?

Biddy Fleet was a guitarist. Per Bird's telling, it was while gigging with Fleet at a Harlem chili house that what he was hearing (improvisations involving "the upper intervals of the chord" is how I believe he put it) and what he was able to play first came together. Oh, sorry, I thought you meant what was the story itself. My bad... As to what might be wrong with it... I'm not sure, other than I seem to remember the date being given as 1939, and I'm not sure if Bird was in NY in 1939. When did he come to NY w/Harlan Leonard?

Biddy Fleet was a guitarist. Per Bird's telling, it was while gigging with Fleet at a Harlem chili house that what he was hearing (improvisations involving "the upper intervals of the chord" is how I believe he put it) and what he was able to play first came together.

If one wanted to, one could suggest that the level of insight in most of the current writing about music is by and large equivalent to the level of insight in the current music itself. If one wanted to... If one wanted to look, one might see. Simon Weil If one wants to convince one's self that a weed is in fact a giant redwood, one can, if one wants to badly enough.

You assume wrongly. I have nothing in mind for it except its ongoing inevitability. I will say this though - the outcome is less likely to be bleak (although to what degree and to what end of success, I dare not venture) if those of us who do know something "true" about "the way things were" go ahead on and get into this new "flow" and contribute as best we can (i.e. - actively live instead of passively spectate) instead of remaining stationary like a boulder in the middle of a stream and then wondering why we're steadily being eroded away.

Lola was something else, wasn't she?

My critical writing is "digital," not "analog," and it's 100% "effective." That's why those in the know don't stand too close to it. I couldn't diagree more about the first half - your writing is deeply analog (and deeply meaningful as a result), in that it looks at real people in real time and comes to all sorts of examinations and conclusions in/about same. It's about as good/effective as such writing can be, and if there is infact any jsutice over time, it will outlast & outshine many more celebrated practioneers of the same attempted feats. It also comes from and about a time, a place, and some peoples for whom things like "time" and "place", although not necessarily any more easily "found", were ultimately less "complicated" in that the "end in sight" was thought to be somewhere in a known/fixed quantity. That is far less the case today for far more people confronting the "eternal issues". It remains my contention/hunch/whatevdr that we are in the midst of a true paradigm shift, one of those rare times in history when "the nature of reality" as we know it is undergoing a fundamental change. The omnispatiality/omnichronologicality (i.e. - when everything really is everything, what then is the true definition of "something" and "somplace" and "some time"?) of so much "free jazz" was at once a logical end to the old paradigm and a logical opening of the new. I also think that what is being called "lack of insight" here is not so much a lack as it is a reptition of a reality/truth that still holds true as far as it goes. It's just that the "end of the horizon" is a lot farther away now than it used to be, so it doesn't go as far as it used to. What once was large is still the same size as it always was, but the area it's contextualized in has gotten a helluva lot larger. Many will disagree, I'm sure.

If one really wanted to go out on a limb, one could suggest that "critical writing" of the type under dscussion here is a distinctly "analog" act presented in a distinctly linear medium, and that as such, it's going to prove to be relatively proportionately less than 100% "effective" when practiced/received by people who are less than 100% geared towards such a reality. The truth of McLuhan continues to reveal itself, that's all I'm saying.

If one wanted to, one could suggest that the level of insight in most of the current writing about music is by and large equivalent to the level of insight in the current music itself. If one wanted to...

That was for the clubs. At Carnegie Hall, Gene Ammons was Jewish.

Wow, I haven't even contributed to this thread & my order's shipped!

You been hangin' w/Unkle Skid?

That's Earl, brother.

Well, with humans as the designer, how "intelligent" can the design be?