JSngry

I know some people who have played in Toshiko's bands, and they all say the same thing - very complicated writing that has to be played "just so" or else it don't work. One guy went so far as to say that she "overwrote" but then went on to say that that's just what she heard and that she wasn't going to compromise that one bit. My ears hear much the same reed vs. brass dichotomy, but I have to think that at least part of it is her hearing things in one color (brass) that don't necessarily execute the way they do for another instrument family (woodwinds), Why does she keep doing it? Why not? One day she might get lucky. No matter, not my "favorite" band or writer as a whole, but the integrity is unimpeachable, and I've come to appreciate the unique gender/cultural/chronological perspective that she's both lived and brought to her music as a result (and seeing it replayed for her daughter in a totally different way has really opened my eyes to this). No small feat that, and if there's times when respect is more meaningful than love, this might be one of 'em. As for later Tabackin, yeah, if you couldn't get with the earlier stuff just on principal, there's nothing in the later stuff that's likely to convert you. But I still say pay close attention to his flute playing. It's a pretty unique voice in its blending of jazz, classical, and Japanese informatives.

I dunno man, Tabackin's definitely one of those "good players" afaic, guys who have mastered the instrument(s) (& Tabackin's flute playing is worthy of examination on its own terms, some very interesting, personal stuff going on there) who I just don't feel the need to invest too deeply in. But cracking on him for the Rollins "affectations", geez, that seems a little harsh. Seems to me that if you're going to be influenced by Rollins, then that's part & parcel of the deal. I've never found Tabackin's use of those elements in any way creepy, because he's always had other things in the mix as well (mostly the whole Byas-esque thing), so there was a level of dimensionality going on. And yes, he has continued to mature/refine his basic style over the years. Grossman, otoh for example, can really creep me out sometimes by being so literally Sonny-esque, kinda like Harry Allen/Stan Getz on that BFT thing from a while back. And Grant Stewart has mostly just bored me because...it's not different enough to matter, and it's not literal enough to be creepy. But Tabackin, hey I give props to the cat. He can play, and play well. And really, check out his flute work. And relative to the whole Land/Grossman thing, has anybody heard the recently released side they recorded together a few years ago? It's really, really wierd - Grossman is totally like '56 Sonny, and Harold is all late-period Harold, and the sense of hearing a younger guy play, and I mean really play. an older style like it's BRAND SPANKIN' NEW alonside an older guy who was there and did it when it actually was is sorta discombobbulatin' and/or But again - if you want to hear Tabackin at his most personal/intimate/original/whatever, check him out on flute. That's where you can feel the love for Toshiko, and how much more personal/intimate/original/whatever can you get than that?

I remember the NPR shows. They were good enough, but if you have spent a lot of time studying/living/whatever in this music, the "revelation" factor is relatively low. But if not, hey, not at all a bad thing.

The hard questions get answered here!

It's pretty common for adolescent female students to have feelings of attraction towards a teacher. It's usually a transitional developmental stage, since the teacher is usually a sexually attractive non-paternal adult still old enough to be a "father-figure". In other words, Daddy without the genetic taboo, a very "safe" way to begin having feelings towards the opposite sex. If everybody concerned doesn't trip up/out, it should all pass soon enough as the young woman begins to feel comfortable enough with her own developing sexuality to start seeking out males closer to her own age. Youth is right to admire and be attracted to the maturity and experience of age, just as age is right to be attracted to the energy and optimism of youth. But there are different levels of attraction, and when/if the admiration, fantasy, whatever (including platonic love) turns into an acting out of the pursuit of unmet needs with a partner who presents the opportunity of long-term incarceration and other forms of personal ruin, that's crossing the line from instinctual admiration to simple looniness. Your friend probably digs the teacher because he's the type of guy that she (right now) thinks she'd like to marry, have a family with, and live happily ever after. He's "the perfect man" in her young, just awakening eyes. And maybe he is (although the older women here -and the few truly honest men - will tell you that such a creature does not exist ). But now that she knows the type, she needs to start looking in her own world, not his. That's going to be tough right now, because most guys her age (hell, most guys period) are immature clueless idiots when it comes to being mature in any way. But the raw material is out there, waiting to be discovered and nurtured to the point where a life's journey on equal footing is possible. And if she's really lucky, at some point she'll find one of the rare guys who already has their shit together, and that life's journey can begin on equal footing. Until then, hey. Your friend should just keep practicing (not to impress the band director, but because it's the right thing to do, period), and come to understand that the band director is a benchmark for what she's looking to find in a man further on up the road, not what she wants to have right now. The teacher should respect (and perhaps even be humbled by) the girl's feelings and treat her accordingly, but in a way that steers her out into life, not in towards an eventual smothering of youth. Attractions, emotions, horniness, love, these are all beautiful things not without complciations and potential hurt, and definitely not without responsibilities.Thoise who away run from the complications and, especially, the responsibilities are saving themself a lot of hurt, but they're also denying themself the opportunity to grow into truly mature adulthood. Some people never do get there, even if they're older than sin. More's the pity.

Brodie can play. He's on the Cal Massey Candid album, then he put out some early 70s indie things that were very nice. the last thing I heard by him was called Unforgettable Sax, but unfortunately it was. But the cat can play, no question. I'd go see him, no wuestions asked. He's been around and definitely should be able to deal. No cover? No brainer. Go!

The Ghost of Jazz Past

On LP there was one of each. On CD they combined 'em & it was called Tangerine.

Nobody should be surprised by Patrice Rushen. The woman has always been a very fine player who has made "career decisions". (and FWIW, I think her pop/R&B records have been very nicely done) Again, check out Preclusion (w/Joe Henderson, btw). Pretty much a Herbie disciple, but oh well. She's playing.

Yeah, with a whopping 435 votes... Still that kicks BJP's 31 votes in the nads with a steel-toed boot. In a nation of millions +, the two of them garnered less than 500 votes. I know it's a niche market and that nobody who was serious about the music took the poll seriously as anything other than a career boost and all that, but damn, my kids' high school graduating classes each had/will have more than 500 people...

Up until recently he made some of the best sounding recordings in the history of recorded music.... Recently? Recently? I know time is a relative concept & all, but it's been like 40 years since he's had a regular output, and over 25 since he's released anything. Notorious recluse/eccentric that he is, that's a loooong time to be doing recluse/eccentric stuff every damn day, stuff like....what?

Geez, did guys back then used to routinely wear jackets & ties every time they left the house? I mean, you see pictures of cats from back then barfing at 3 AM and they're wearing jackets & ties. What a not wonderful world.

They're still there. Not that island. LTB started switching between Idol & Lost, but before too long, we stayed with Lost until, like 8:57 or so, just in time to catch the inevitable, and then we ran right back to Lost. Worked for me.

Immense happyfunsunshinedreamscometrue photo gallery, except for this one... Go figure.

Does she always dress that well?

He was also the bassist on the Dexter/Thad Prestige session. Mike, are you familiar with Patrice Rushen's 1974 debut album on Prestige, Preclusion?

I seem to remember reading Victor Sproles' obituary in Down Beat a while back, but can't say that with too much certainty.

Yep.

Anybody wanna buy tickets to the wood chipper's ball?

Red or green?

Vol 2 has moments of "filler" & vol 1 is definitely the more solid of the two, but if you find 'em both, buy'em both. If you cheat just a little, they'll both fit on one CD. And yeah, Turrentine on these will surprise some people.

Oops! Wrong finale. My bad.

So, did or did not everybody get off the island?

cool label. Even cooler record.

Don't know about that, but it's not Thomas' most riveting performance by a long shot. His voice is still full, but his spirit sounds soft, almost New-Agey-Suppery-Clubby. I was actually embarassed to be listening to it in a few spots, and this from somebody who dug/still digs the late-60s/early 70s LT.