JSngry

Yep.

I disagree. I think he sounded like he could have sounded great - if he had wanted to. The thing is, he intentionally withdrew into whatever world he withdrew into more than 30 years ago, and if it now seems like he doesn't want to be a total recluse anymore, it sure doesn't seem like he wants to step up and be Full Sized Sly anymore either. That's his perogative, but damn, Full Sized Sly could still rule the world without too much effort. I thnk he knew than then and now. I also think that he really didn't want the job -then or now - and the only way to make sure that he didn't get it was Timber, All Fall Down, one way or the other. It's a loss, to be sure, but at least he got his masterpieces made. There's no Smile type unfinished business hanging over his head, unless you wanna count ruling the world. And as much as I'd like to, hey, it's not a rush for me to see a lazy.

Deep, deep subliminal grooves going on here, the kinda shit taht you really don't "hear", yet you wanna play it over & over & over. Not everybody can do that... Incognito is a funny band. Their own "regular" albums pretty much drive me nuts, sounding somewhat like what Manhattan Transfer would do if they weren't as "white" as they are. And I in no way mean that as a compliment, believe me. Yet, while Ingocnito albums are full of everything that went wrong in the late-70s done even better than they were then, Incognito remixes are frequently some of the hippest shit out there, and it's not a simple case of an outside remixer polishing an already shiny turd, since group leader Bluey often enough does them himself (and his remixes for others are almost always some hip shit). So I'm like, "Dude, why don't you do it like that in the first place", and then he's all like "Geez dude, we do call ourselves Incognito, doncha' know." and then I'm all like, "Yeah, I suppose so, but still..." and so forth. Anyway, I know I'm probably talking to more than 0 but less than 10 people here who are even going to think about taking this seriously, but to them I say, check out this collection, and wait to put in Disc Two until you have time to really, really hit that zone. Trust me.

God that's sad... So close (and still so much), yet so far away... Not all stories have happy endings.

As far as the "noise" thing goes - for myself, I can say that part of where I came into jazz "from" was psychedelic rock. So I was pretty much nonplussed by the notion of "noise" as music. Of course, with Trane there was so much more to it than that, but that was one "hurdle to get over" that I myself didn't have to get over. For somebody who "didn't know any better" such as myself, the leap from psychedelic rock to stuff like later Trane, Ornette, Ayler, & Shepp seemed to be a lot more "cultural" than musical. With the one, I got "the sound of now" what was being pimped by the industry and embraced by a large portion of my "peers" nationally, if not locally. With the other, there was this whole other "aura", one of Blackness & Militancy and just overall....Serious As Your Life-ness. I had no probelm going there, just because at my place & time, it really didn't make any sense to me not to. It was unambiguously a "different world", and that was exactly what I was looking for then. Turned out to be a pretty good fit, actually. The "leap of culture" was large and obvious. The "leap of music", though, really wasn't that big of a deal. Seemed like the more than logical "next step" for me then, and in 30+ year retrospect it still does.

Depends on who you ask.

Yes. One of the Arista/Freedom issues.

For me, it's the joy of hearing the realities of complexity (and the complexity of reality) being deliniated in a way that is not only logical but moving, finding not only meaning but purpose (and again, vice-versa). I find that to be a very useful thing to have at my disposal as a part of my "life skills". Unfortuately (or not!), all this is subhective, so at some point, some variant the "if you can't hear it, then..." almost has to result. But it needn't be critical or dismissive, It should be a simple objective observation that not everybody sees life the same lens(es) nor feels it with the same receptors, and that not everybody has the same needs in the face of what it is they see & feel. And those objective observations hold true for "both sides" - actually all sides, since there's more than just two POVs possible here - of the question.

I know to you it might sound strange, but that song was called "I Wish It Would Rain".

Pops Poopadeaux?

http://www.dustygroove.com/item.php?id=j6w...p%3Bincl_cs%3D1 So?

I'll drink me some sody water by god, and I will enjoy it.

Around here, MG is generally The Mighty Goldberg. Perhaps the reference was intended to be to MC, which would be Michael Cuscuna.

Line me up, Jack, I'm good to go. Just don't expect the programming to be exclusively from the 20th century, all-acoustic, and/or vocal-free. Doomed from the start, just the way I like it! :g :g

Mesquite????? indeed! If ever Arlington needed more proof that it is a cultural wasteland, there it is. I'm really surprised (or not...) that this film wasn't booked in a theatre/area with a heavier african-American population. Makes me wonder (or not...) who the "target market" is for this film...

I'd not have known about it if not for the weekly NYT email film update I get sent every week. Hardly ever go to the movies any more, but I like to see what's new, just in case something piques my interest, which this one certainly did. I vaguely knew of Petey Greene through word of mouth from back in the day (plus, IIRC, I didn't live in a cable market that carried BET until after they had stopped showing his show, stange as that might sound today....). So I read the generally favorable Times review, did some quick e-research on Greene & decided to check it out, since this era and this style of activism is one that I, for any number of reasons, have a personal attachment to. Forutnately, Dallas is one of the few markets it's playing in right now, so LTB, dional, & I made an afternoon out of it. Not a "perfect" film, no. And as a straight-up biography, it ain't even close, apparently. But still, it's a good (enough) story "based on" the life of a genuinely interesting person. Interesting subject matter, pretty good ( & sometimes better) film, & Cheadle rocks. Works for me.

Yes, Cheadle is one of the best today. so flexible, and so attuned to nuance. This role is no exception. Anybody know what the release strategy is for this? Is it going to be limited release only (I saw it at the Dallas Angelika, and the only other place in the entire Dallas area where it was playing was a 30-plex in Mesquite, which if you know the area, is kind of a type thing) or is it one of those "open small, hopefully build a buzz before going general" type things?

Mom's Apple Pie The Masked Marauders Nashville Pussy

I've always thought 10:00 AM or PM to be a reasonable start/stop time for noise.

Barrett Deems Danny Barcelona Danny Hodge

The emperor speaks elsewhere: http://www.bluenote.com/detail.asp?SelectionID=10411

Get it.

Saw this last night. Flawed as hell, especially later into it, but Cheadle is exceptional as Petey Greene. Suspend disbelief, accept up front that it's a biopic and that a biopic is gonna do what a biopic does (ain't no livin' in even a merely slightly imperfect world), and enjoy the ride. In the meantime, this is all of The Real Thing that's on YouTube for now: Some more: http://www.npr.org/templates/story/story.p...toryId=11955100 The young folk probably can't "get it", but for a quick minute in American history, people like this, real people who used to speak freely, bluntly, and truthfully almost used to be expected to be part of the American dialogue. And the resultant dialogue, although quite often sloppy and not always "civil", ended up being far more constructive and far more effective than what has since replaced it. WAKE UP, GODDAMIT!