JSngry

Not sure I see the connection? Just heard, entirely coincidentally, something called "The Season" by Beanfield on a podcast. Really nice, and even if I had no idea who the band was, that voice was immediately identifiable. What a distinctive timbre! And even more distinctive as a speaking voice. Did find a picture. Looks like she's into that Insect Look.

This would be funny if it wasn't so damn true. Hell, it's funny anyway. I'm all for moving forward into the digital age and all that, but there seems to be a lot of "it's over" before it's over coming from people who think it's over just because they don't know how. A bunch of freakin' morons on both ends of this rope, it seems to me. Here's hoping that Russ Solomon continues to not be one of them.

All the interpretation you can eat: http://www.thechaselounge.net/showthread.php?t=1984

Check this out: http://www.stadiumwall.com/index.php?showt...458&st=520#

The chatboardworld is going nuts over the ending, lots of speculation/interpretation/looking for signs/symbolism/etc, but this post was interesting: http://www.stadiumwall.com/index.php?s=&am...t&p=1018081

i don't think your opinion is just "to your ears". probably any jazz listener feels the same way regarding your golson/shorter comparison. Yep. And as what was "progressive" in Shorter's Messengers days became more and more "mainstream", it's only natural that some might hear Golson's work as less than the masterful use of elements-of-its-time that it truly is. (Although I do think Golson became less inventive and more formulaic as both player and composer, his craftsmanship was never less than impeccable. And his playing since his "comeback" has often been pretty damn interesting, I think.) Hell, there's more than a few people who think that both Golson's and Shorter's Messengers work is "old fashioned", and at least for a while, Wayne was one of 'em. Remember his comments about writing "nightclub music"?

Well, on thing's for sure - old-school Phil Leotardo and all his old-school notions of honor and shit took it up the ass because of his old-school devotion to pay phones...

Life goes on... This ain't life, it's a freakin' TV show, and some "closure" would be nice, but oh well, life goes on...

Did Elvin Campbell engineer this one? He did real well w/electric pianos, I think.

Dude, you have done dissed the Rooster's manhood. Prepare to be bitch-slapped. Or worse!

If it's 13 hours in a car with the same people one way, and then you got to spend more time with them, and then 13 more hours, how the hell is that a "retreat"? I mean, hey - I love everybody, really I do. But the number of people I like well enough to go through all that is somewhere between 0 & 1...

Hey, I didn't invent the language.

Vaguely influenced by "Las Vegas Tango", wouldn't you say? ;)

No, I mean Bajka. I like the way she says "fly": http://www.allmusic.com/cg/amg.dll?p=amg&a...33:fifwx09gldfe

That's very nice, and thanks for pointing that out. I'll look for it. But I think I prefer the Radio Citizen material. Grittier, groovier, sexier, you know, all the things that young kids like me go for, doncah' know... First tune on the album is something about going for a ride in a car and there's a fly in the back seat. The way she says "fly" is just all kinds of cool, as are the implications contained therein. Still not sure exactly what the lyrics are about, but I've narrowed it down to about 500,000 or so possibilities.,,,

Still, it's his real middle name. If Sonny Rollins recorded as "Walter Rollins", or Dexter Gordon as "Keith Gordon", would that rightly be called recording under a "pseudonym" - literally "false name"? That just doesn't seem right to me...

SD-1416 - Tonight At Noon - Charles Mingus [1964] SD-1417 - Vibrations - Milt Jackson [1964] SD-1418 - Stitt Plays Bird - Sonny Stitt [1964] SD-1419 - Sound - John Coltrane [1964] SD-1420 - A Quartet Is a Quartet - Various Artists [1964]

Yes, there's an Atlantic Stitt in the same manner. And sorta/kinda/not really:

How is it a pseudonym if it's his real name?

Ah, a cult figure at home and abroad! Seriosuly, she's got a timbre and a liquidity in her speaking voice that remings me of Billie Holliday's singing voice, and her singing voice puts me in mind of...Billie Holliday if Billie had been a protege ot...hmmm...Tom Waits? My reference base fails me here... Anyways, on this album at least, she does very good work and very interesting work. I'm digging it more than a little.

Up? Anybody? How's things in Germany? Hello?

John Coltrane shows up at heaven' gates, where he is greeted by Lester Young - who extends a hand of freindship, shows a wearied but welcoming smile, and says knowingly in a voice that is more weary than it is tired, "You too, eh?"

Red Man Levi Garrett Big Skol

Whoa....

All I've heard is her work here: And all I can get in terms of bio is http://en.wikipedia.org/wiki/Bajka_(music) : Well, ok, maybe that's all I need to know. Or not. Anybody? I really dig her voice & delivery & poetry & all that stuff.