JSngry

All the best from Boudreaux the Buffaleaux, King of the Cajun Plains!

All the best from Boudreaux the Buffaleaux, King of the Cajun Plains!

All the best from Boudreaux the Buffaleaux, King of the Cajun Plains!

All the best from Boudreaux the Buffaleaux, King of the Cajun Plains!

No - Rap was always the old Disco. MG No - House is Disco (in all its forms, good bad, and indifferent). But half (or more) of what we think of as "disco" was actually pop music in the style of disco. Real dance music is not designed to be pop music first and dance music second.

Good to see you again. Don't be a stranger!

This one:

Correct me if I'm wrong, but shouldn't it be King instead of Bethlehem? Or did King reissue it once they bought Bethlehem?

Church.

Has this EVER not been the case? Of course not! That's why articles like the one you posted tend to elicit a from me before anything else. I mean, yeah, the guy's making some valid points, but it's all really just the next phase of The Eternal Inevitable, if you know what I mean.

The irony here for me is that club DJs, who have been the brunt of much criticism (often justifiably), are often restoring dynamic contrast to music which has none built into it. Certainly not all DJs, and certainly not dyamics in the traditional musical signposts, but dynamics nevertheless. One cat in particular, a British guy by the name of Colin Cooper (see http://www.radiogotsoul.com/content/audio/...cat=ColinCooper ) makes these longass nonstop house mixes with plenty of dynamic variety in the "upper strata" of the sound field. Now, that's house music, and there's usually not a lot of variety in tempo or basic beat or dynamics within same (although there's a lot of variety on what gets layered on top of that basic beat). "Musical journey" is a cliche, but that's what this cat puts together. I know that's a type of music (or esthetic) that not a lot/most of the people here are going to be interested in (most will probably find it repugnant), but the point is that there are people who recognize the "problems" with the music that "the industry" is providing and who are being proactive in "correcting" it to meet their needs, as well as the needs of any potential audience they might have. The "tools" are there for damn near anybody to take a basic cut and play with it any way they want to. That's "dangerous", but it's also liberating. Depends on who's doing what and for what reasons, and it makes GIGO directly relevant to operator as well as raw materials in a way that's perhaps more direct than ever before. Bottom line is that if you don't like it, you can fix it, one way or the other. Noting & bemoaning the loss of what was is certainly understandable, but if it doesn't serve to motivate some sort of corrective, all it is is more whinyass pissybitching. My hat's off to anybody who carpe diems, no matter what genre they're in.

If all you listen to is aboveground music through aboveground distribution matrices, then yeah.

I hear ya' on that. Shit's largely played out and has become self-indulgent, self-referential, and not really speaking to the audience as directly and relevantly as it once did. People are starting to not care too much any more, and good for them. So, I guess it is true that rap was the new jazz...

Eugene Chadbourne's AMG Bio:

Oh, I can hear what he's playing. It's totally an issue of tone for me. I just don't feel his tone. But like I said, that's my problem.

Good stuff.

I'm still not convinced about Sam Brown, but that's my problem. Otherwise, yeah, this is a great album.

I've been going through some changes, but hell, Hewitt's been discussed enough here by now that anybody who ought to check him out out to already have done so without any further nudging from me (or anybody else). As for the people who haven't checked him out yet because they need to be bludgeoned into thinking that they should but they're still not SURE, hey - the One O'Clock holds auditions every semester...

Yep, that's her.

Get Joe to play you some Ursula Rucker.

Dude, it's already going on in the dance underground. Has been. Of course, it's not "all natural" anymore, but oh well. club djs tell me they are so sick of that 70's stuff resampled........ That's not what I'm talking about, sampling. I'm talking about the various "neo-soul" acts and older bands like Ingognito & Brand New Heavies (erratic output form both to be sure) who use the progressive soul of the 70s as thier starting (and too often, finishing) point for their original material. The "not all natural" point had to do w/the use of drum machines & such.

And anybody wondering where the Real Soul Singers are these days need to go to the underground.

Dude, it's already going on in the dance underground. Has been. Of course, it's not "all natural" anymore, but oh well.

Elder Don, you have hit the nail squarely on the head. Now that the primary audience for "jazz" is white folk (middle-class & upwards, and slightly less middle-aged and upwards), and now that real jazz musicians (i.e. - those who came up in the music/culture organically) number between slim and none (with Slim looking at the clock on the wall and then the door in intervals of increasingly shorter duration - a cat like Shelley Carroll is the exception that more than proves the rule), the need(s) for all concerned to have Crouch's "unlettered black person who should be the final arbiter of value, because they have absorbed the truth through their nostrils or something when eating collard greens and cornbread when growing up poor in the South" to have a voice through his mouth is going to be too powerful to resist. Crouch calls the notion of such a figure having such power "sentimental" & "bullshit", but damned if that's not the role he's been working himself into - The Educated Voice Of The Soul Of The Black Man's Jazz Who Is Able To Articulate That Which Has Heretofore Been Inadequately Articulated For Those Who Most Want/Need To Hear It. Too many degrees of separtation at this point, waaaaay too many (Crouch himself may have at one time been such a person as he fantasizes about, and deep inside, he may still be one, but like the Road Runner running through air after running off the cliff, once you look down, it's all over...). For almost everybody concerned. It's a con game, pure and simple, and there's enough marks to make it lucrative for the duration. But the truth is much more complex, and it's the nature of true evil to take the truth of the past and turn it into a lie for the present in order to capture your soul for the future. I'm not saying that Crouch himself is a tool of the devil, or anything like that, just that he's one of many who are falling for the lie that freedom of the soul comes in a package of ready-made pre-fabricated identity. It doesn't. But dammit if there's not a market.