JSngry

I've got those early albums on LP, and although the notion of "singles band" is probably accurate for the big picture type thing, there's enough little things here and there in the albums to merit consideration for the more, uh... diligent listener/fan. But I ask this now -has there ever been anything else like "In Time" off of Fresh until recently, when drum programmers have finally learned how to make the shit snap, crackle, pop, and stutter like it's supposed to? That cut still trips me out like few others. Andy Newmark, y'all!

NEWMAN! Kramer The MC 5

The reason why RIOT had such a weird sound in the first place was that Sly was in the middle of one of the wierdest rides imaginable. The whole black/white thing was resulting in him getting leaned on by "certain parties", death threats, shakedowns, etc. Paranoia was high, and so was the coke use. So sly was carrying the tapes around with him, and was using them as "leverage" to get both coke, pussy, and safety. He was letting all kind of people lay down vocal tracks in exchange for whatever was needed at the moment. That's why there's so much tape hiss and degrdation of the final vocals. There's been literally hundred of passes made before the final vocals got laid down. This is all from an article in some British R&B article whose name I don't remember. Would've been ca. 1992-94. The source was either Larry Graham or Freddie Stone. Best article I've ever read about Sly, bar none, and I was a total dumbass not to buy it.

Sounds like a good way to try and attract/hold a broader audience. Nothing on there that would really piss me off except for Kenny G. The snooty dumping on of Botti is highly ill-advised, I think. The rest of the "smooth-ish" stuff on that list is stuff I've either not heard of, or people I have who do what they do decently enough. I'm in no way a fan, but I can put the ears on hold while it plays. But if a G-Fan accidentally hears some Randy Weston, hey, oh well...

Easy there, big guy. It was funny. Gotta be able to laugh at yourself once in a while.

A long life certainly not wasted. Thank you.

You didn't know me back in the day when I was doing blow and screwing models. Wait, that wasn't me, that was somebody else... Or was it? Hell it was the 70s. I'm not supposed to remember. Which means that maybe I am Joe Farrell. Lemme go to the pantry & open up a cuppla cans of peaches and find out.

I'm thinking the cat meant it for the "10 desert island shoices" thread

Teletubbies Telemundo Mondo Grosso

Moose be the Jeezus of Kool.

Dude, I saw a Korla Pandit 78 once at a flea market. Has a little picture of his head on the label. I passed. But now, actually having heard him, I wish I'd picked it up. Just for the label.

Not dead then, apparently. Wish he was well, though. Helluva drummer.

Nope. Just what I think I've heard from others.

Just released (in Japan only?): http://www.cdjapan.co.jp/detailview.html?K...157&ref=myp

Love & hope (if that's not redundant), and all that springs from them.

Yeah, if we killed the Internet, then everybody would get to liking 50th-generation Hard Bop jazzmusic & Sharp Nine would be large. Yeeeeeeeeeaaaahhhhhhh..... OmniTone's a good label, but very much a niche one. Same w/Palmetto. But the niche is only going to get so big. They should be trying to grow the niche, and offering downloads vs insisting on hard copies seems like a good way to control minimize overhead, and maybe free up some fundage for promo. Didn't/Doesn't Palmetto actually offer "bonus material" as free downloads? Smart idea, that, but it's just a start. Those other labels, I don't know squat about. Have heard about them by name, seen ads, etc. But I'm thinking that since that's as far as it goes, there's been nothing there that I care about. That's not the label's problem, but it's not mine either.

Dead, I think.

I think that griff was significantly better served at Riverside than at BN, although whether or not that was as much a matter of his own maturing as anything else, I'm not ready to say. But Riverside was definitely more amenable to different/expanded/whatever settings than was BN, for whatever reason. Now, about Unit Structures, again, some historical perspective is called for. You gotta remember that prior to that, the last Cecil date that was out there was the Into The Hot material, and that that was still "Cecil playing over time". (I know that some of the Montmartre stuff was released in the US on Fantasy/Debut, but A)that was a trio date, B)Fantasy back in those days was not all that widely distributed except for a few "hits", and C)I don't know exactly when that album was released. Anyway, good luck finding a copy, then or now). Anyway, Unit Structures was the first side with profile (and quite possibly the first side period) to present Cecil Taylor's music in the form that we all know today. It could be argued that pretty much everything that's come since is an expansion on what was first documented on that album. So afaic, it's "classic" status is a no-brainer, even if the music wasn't as incredible as it is ("Enter Evening" alone is one for the ages, & getting an alternate of it on the CD was a gift from on high). He'd have come out (no pun intended) somewhere sooner or later, but this is where it happened, and there ain't no changing that. There literally was no Cecil Taylor music like this on record before Unit Structures, but there's been plenty of it since. So I say you gotta give recording props to the recorded archetype. That's an interesting perspective, Jim. I guess that, given the Cafe Montmartre recordings, I had never thought of Unit Structures as being so much of a step forward, particularly as it came several years later. I have always considered Cafe Montmartre as the foundation for everything that came since. To clarify, I said first documented on that album. If the Mointmartre stuff came out on Fantasy/Debut before US, then I'm in error. But even if it did, the distribution was so poor/limited that it's for all intents & purposes a technicality. Now, in hindsight, yeah, the Montmatre stuff is the shit, the real first documentation, probably. But for the longest, it was US. And for the longest, remember, Cecil was nowhere near as prolific a recording artist as he's been for the last 30 years or so. If you've come to the music since then, there's been an embarassment of riches from which to choose. But it weren't always so.

Yeah, you could tell that he didn't know the bridge. 1st chorus is just kinda "well, let me hear how this goes", 2nd is "ok, it goes like this, right?", and the 3rd is pretty much all the way there.

Definitely one to get. Recording's not nearly as good as the DC thing, but I think the playing's better by all concerned.

Oooooh, NICE!

See Da' Bastids.

Hal Crook used to play with Phil Woods.

I didn't know that about Tabackin (and don't really care, if you know what I mean, but duly noted for the sake of accuracy). I thought that I had read in several places where Monday & Toshiko went back & forth between America & Japan after Toshiko & Mariano split up because Toshiko had work there, and as a single mom she took both it and Monday. But I could be wrong about that.

Well, is samples is all you've heard, then I understand. Just know that her body of work as a whole is pretty much "all over the map" stylistically, sometimes from album to album, and sometimes within albums, and even songs. "Boundaries" of styles are one thing she seems to not be too impressed with!