JSngry

I got nuthin'. Sorry. But if he was w/Cobb, he might have been a Houstonian. Or not.

Cindy Cashdollar Miss Moneypenny The Pillsbury Doughboy

Yeah, Spite & Malice, this is pretty much it right here: http://en.wikipedia.org/wiki/Spite_and_Malice which is too high-falutin' a name for the West Virginian old folks who taught me the game. Means about the same thing as Screw Your Neighbor though...

Ok...seems that this game is not the "real" Screw Your Neighbor, but is instead a variant of SKIP-BO: http://en.wikipedia.org/wiki/Skip_bo which was originally entitled Spite & Malace. Fun game no matter what the name, and not without a good bit of strategy built into it.

I like a card game that was taught to me under the name Screw Your Neighbor. Played w/two decks. 13 card piles (top card up), 5 in the hands, create Solitaire-like piles on the open table with cards from hand and (especially) the pile, first one to clear their pile out wins. Sound familiar to anybody? Can't believe that that's the "official" name.

Oh yeah, I knew who JZ was right away. Back in high school, ca. 1972, I had found a Capitol 45 EP of some of of Boston Blow Up in the back racks of a Kilgore, Tx (home of Van Cliburn) newstand for something like $1.25 & popped it up pronto. So when I got to Dallas, where nobody my age knew about Serge Chaloff or Boston in the 50s or anything etc., not only knowing who Jimmy Zitano was but having an actual record with him on it, a 45 at that, hell, that got me more tail than Sinatra, as any young jazz record collector/aspiring tenor player will tell you with confidence.

Pithecanthropus Erectus playing for a little bit, right? A nice touch!

Wow...I wonder if...no, I'll bet that that's the same Lee Robinson who was a "local legend" of the older, white, Dallas jazz scene when I first discovered same in the early 1970s. Lee Robinson was a player! Also in that scene was drummer Jimmy Zitano (aka JZ), a certified CHARACTER if ever there was one - and there most certainly was.

Technique matters and there's no reason at all not to discuss it openly and in detail. No, not everybody needs and/or wants to hear about it, and that's cool too. And by no means is technique the object of the game (although it is how that object is achieved). And yeah, jazz especially has too much too often gotten way too "technical" in both concept & vibe to do anybody any good, but that's a spiritual failing, nothing more. I guarantee you that technique was every bit as important Before The Fall as it is now, it was just "objectified" differntly than it is now. But hell, instruments don't paly themselves, and players don't "make magic" just by picking up an instrument and blowing. No matter how much one does or doesn't "care" about that (and for a non-musician, that there is no right or wrong on that one), anybody who doesn't acknowledge it as a fundamental reality of life worthy of respect as same before deciding how much to care or not to care about it is a goddamned fool. Period. To shy away from any/all technical talk as a matter of principal is really just a matter of willful ignorance that places music entirely in the realm of the "mystical" or some such, and as much as that is an appealing notion, its at best only a partially accurate one. Craft absolutely must be discussed openly, if not eternally and/or omnipresently. To anybody who's present when it is being discussed amongst fellow practitioneers, the only three options of grace are to 1) avoid the discussion altogether; 2) remain silent but be elsewhere mentally; 3) listen and try to learn something, if only an appreciation of how much non-"mystery" there in the creation of something that you love. Under no circumstances is it an act of graciousness to interrupt a conversation of "shop talk" between two or more practitioneers of the craft and whine to them that you don't care about what they're talking about and that you don't think it's important. It's not too much different from telling the woman you claim to love that you don't give a damn about her job, her family, or anything else about her, all you really care about is for her to keep sucking your dick and swallowing your cum. I exaggerate, but not all that much, not really... This is a genuine music forum, not just a "fan" forum. Rejection of the notion that musicians should feel free to talk about music in all its aspects in such a forum, although good advice for life outside the Cave (if there still is such), is an affront to anybody and everybody who plays even semi-seriously. And the notion that such talk should not be engaged in because it just doesn't matter is worse than an affront - it's 100% cockeyed bullshit. Hell, I'm all for bringing the music to people, not at them, and I don't even particularly like Gary Burton, not even barely just a little. But this rubbed me the wrong way big time, just because. Nothing personal Simon, really, but you're just wrong here, period. That was musician-to-musician talk, and if from time to time we can't have that in a forum like this, hey, fuck it all. You're welcome to feel it as frivilous as you want. But to insinuate that it should not be put out in the open because of your...whatever, hey man, that's more than just a bit much. I'll not not take you seriously because you don't want to know about shit like that and it doesn't matter to you (hell, some of my best friends don't want to know about shit like that and it doesn't matter to them) but I'll sure as hell will not take you seriously if you go floating the notion that it's all a big bunch of sillypoofytalk that doesn't ever matter in any way at any time. Damn right I won't, nor will anybody who has even half a clue about how music really "works". Maybe, just maybe, that's the reason for some of that equivocation you feel. I don't know. But I'd certainly not rule it out. Just my opinion, but that's it.

It's a beautiful thing to see, ain't it.

http://www.youtube.com/watch?v=Vj3Vj2qETY8

Freddie Cruger Red Astaire 3 Foot People

Ed Wynn Milton Berle Jack Benny

Joe Zawinul Abdullah Ibrahim Toshiko Akiyoshi

I like the three LPs he did after getting back out of jail in '69- Brother Jug, The boss is back and the black Cat (my fave) but I've not heard this one. How does it compare? http://www.allmusic.com/cg/amg.dll?p=amg&a...10:jcftxqyaldje

Otis Spunkmeyer Skeets Herfurt Henry Wadswroth Longfellow

You gotta keep in mind that time in the JazzCave moves at a veeeeeeeeeeeeery slow pace...

Jerry Tubbs All the Von Trapps The Little Drummer Boy

I suspect that my story's pretty much like everybody else's. When I was a freshman in high school, this senior chick in the band really dug me. She was into Trane & Charles Lloyd. She invited me over to her place after school one day to make out and the changer was loaded with jazz lps. Of course, making out soon became a lot more. I developed a Pavlovian association with jazz and hot unbridled sex that continues to this day. To this day, whenever I hear "Sombrero Sam" I feel my testicles being licked, and I must excuse myself from any situation where "Lonnie's Lament" is playing, lest I create some embarassing stainage,

I'm the oldest of two (seperately & 4 years apart) adopted children. What our actual "birth order" is remains a mystery. So what does that mean?

Groovin' band!

http://www.mosaiccontemporary.com/albums.asp