JSngry

Kudos to Michael Cuscuna for getting as much Hill material as possible out in Hill's final years. Presumably this meant a sucession of advance money for each project at a time when it was no doubt needed. Music industry humanitarianism lives!

It was all about the dogs, the Sly experience was.

Sounds Andorran...

I too wonder how early Elvin sounded to a jazz world that didn't have later Elvin to compare him to.

My sentiments exactly.

You make it sound as it Ornette's still playing with the Cherry/Redman/Haden/Blackwell/Moffett Mafia. I'd say that the various editions of Prime Time, especially those of more recent vintage, have given venue to some players far outside that orb. Nothing "major", and certainly nothing "sponsorial" about that, but the first bunch seemed to use their cahet for a little bit to form a bit of a sub-cult there for a quick minute, which is about all anybody can realistically ask for, all things considered, this not being a perfect world and all. The "good" thing about Ornette winning this thing is that its another micro-step towards mainstreaming waht is still for a lot of people still some weird incomprehensible shit. It just tilts the perceptual playing field a skosh more in our favor. Maybe by the second half of the 21st century enough people will caught up (superficially or otherwise) to the second half of the 20th that shit can start to flow again. Or not. By then, those who get there will already be behind those who have already been there. Same book, different chapter. So maybe it's all meaningless, and all that it means is that Ornette got a nice piece of change to blow as he sees fit. Worse things have happened. Really, though, doesn't this all come down to (and I'm going by appearances only, no insider info) Denardo taking a proactive role in his old man's career guidance? You can call that self-serving on his part, and perhaps it is, but then again, if Ornette Coleman was your father, wouldn't you want to do the same for him? Rat Own. I've been telling that to people since Day One. That album is serious. People ignore it at their risk.

Quartet Out (emphasis on "quartet") = cyber (among other things) dysfunctionality in the extreme. Don't get me started...

Wow. It's still 1980. Who knew?

Dude, I thinkI know what you're talking about, but I don't know that I agree, much less think that Ornette is constitutionally inclined (or able) to deliver it. The cat started withrdrawing from the trenches in when, 1962? Since then, he's just decided that he ain't gonna play that game no more, and that what he got or didn't get was going to be on his terms. It may be "unrealistic" in terms of economics and it might be "isolationist" in terms of putting it out there for the people, but oh well. Q: has there been a bad or even lackluster Ornette record? Not in my collection, and I think I got all of 'em. Yeah, records ain't "real life", but then again, how many people have heard an Ornette record and "gotten it" even somewhat vs how many people heard Tina Brooks @ The Coronet? Q: Manhattan's "under siege" you say. Of that I have no doubt, but considering the nature of the attackers, what can Ornette do to save the day? Play a concert? Run for mayor? Organize a militia? Reconcile with Dookie? Pour harmolodic acid into the water supply & chase the Blue Meanies away? Q: Does anybody, "artists" included, have any more fundamental a responsibility that that of staying alive to do what they do for as long as possible? Hell, we got a freakin' Honor Roll of motherfuckers, bad motherfuckers, who couldn't take care of that little piece of business. Q: If William Parker (to use your example) fell in the woods and everybody was there to hear it, would it still make a sound? Q: Does the notion of Ornette actually attempting the role of "social spokeman", "civic role model", or anything that would require him being anything other than the beautifully urbanilly freak that he is/always has been seem even semi-viable? Like I said, I think I know what you mean/want, but I just don't see it being possible, or even necessarily a good thing for anybody. Ornette is Ornette, always has been, always will be, and that's just how it is. Call me a defeatist, but there it is.

From the Bob Newhart show. He's married to Suzanne Pleshette. He was on the Steve Allen show in the 1950s, and was funny as hell there. Him & Don Knotts both played characters there that were outside the mold of what they later became typecast as. Ah, Kitty Carlise. My buddies & I were big To Tell The Truth (Bud Collier) buffs back in the late 60s, when it was on every afternoon on CBS (and into the early 70s (Gary Moore and waaaaay psychedelic sets) in syndication), and we wondered who the hell was this old broad with the goofy hair and even goofier voice. We had had an English teacher or two along the way who acted like that, but they were weird (but, in retrospect, not any weirder than grade-school kids who watched TTTT every day...), and this chick seemed perfectly normal being like this. Kids in the Piney Woods conldn't figure that shit out. Time passed, and I got out of the Piney Woods, and I came to recognize just what and who she was. I came to appreciate her. When TTTT had a brief daytime "comeback" (Lynn Swann), there she was, only this time she was REALLY old. Otherwise, same ol' Kitty, & it was charming. Then when GSN started running old TTTTs in early afternoon (Gary Moore again), it was a thoroughly flashbacky feelgood treat. Between Orson, Poston, Peggy Cass (another one fer ya') & KC, hey, TV can be good, if totally strange in a thereisnolifeoutsideofaverysmallpartofManhattan kind of way. R.I.P., and now, I understand. At least as much as anybody who wouldn't last more than a millisecond in her world (and her in mine) can.

Detroit? Damn... I gotta get out of Texas.

You're certainly welcome. That thing has been part of jazz trumpet (and jazz in general) since the git-go, if not earlier. Different players put a differnt amount of emphasis on it, but its one of the things that makes "jazz" what it is, that communication directly through rhythm/percussiveness. Perhaps not so coincidentally, I've been hearing a fair amount of "broken beat" dance music that sounds for all the world as if it's rooted directly in Tolliver's Music Inc.-era compositional style. If you ask me (and I know you didn't), I think that a lot of "jazz fans" either underestimate or are just not "aware" of how much can be communicated directly through rhythm/percussiveness and instead focus on things like tone, harmony, melodicism, etc. That's all good, that's all part of it, but cats like the three mentioned above (to name but a few) show that you don't really need too much of that other stuff to make jazz that hits you where you live.

There was a Malik interview in Cadence back in the day whre he copped to Donald Ayler a his big influence. Ayler, Malik, & Tolliver all to one degree or another play(ed) the trumpet as a percussion instrument first and a melodic instrument second. It's a thing, and more power to it.

Dave Dee, Dozy, Beaky, Mick & Tich Dr. Tichnor Lord Kitchener

That's got to be the biggest bass drum that Roy Haynes ever used!

The first one is the one to have if you're only having one, I'd say. Still not 100% great, but when it is, it is.

Nah, that article was, like, 15 years ago or so. I'm really thinking MOJO, but I don't know for sure. Read it from start to finish in the store because it was something like $7.95, and on that day at that time at that place that was a lot of money to pay for just one article. If I had a time machine, though.... As for WP as a whole, yeah, good, not great. But I'm used to that by now, across the board. My culling skils are by now, shall we say, "highly advanced"...

Yep. A favoritest of mine too. I really dig hearing Pres count off the tunes. X 2 (one for each hand).

Ah yes - "Fate doesn't want to to be famous too soon"... An Ellington classic.