JSngry

So waht. you're telling me that this is an intentional act? I always thought is was just something put in to somehow evade spam filters or something. This is real, intentional poetry? Really? I'm serious and had no idea.

Grachan Moncur IV - Some Mo' Other Stuff Herbie Nichols - Too Late Now! Bobby Hutcherson Remixed - HipHoppenings Ronnie Laws - Always Pressure Sensitive There Dodo Greene - My Hour Of Neediness Elvin Jones - Polly Want Some Currants?

Horace Parlan - Sperm Of The Moment

Joe Henderson w/Tom Foley - Inner Urge/In 'N Out One Page Kenny Dorham - Trompetta Tocockadoodledoo (aka Trompetta Trocadero) Johnny Coles live in Washington D.C. - Little Johnny C-Span Lou Donaldson live in Birmingham, Alabama - The Scrap Iron Charlie Rouse - Bossa Novacaine Charlie Rouse live in Monte Carlo - Bossa Nova Baccarat

Freddie Roach - Moe Greene's Place Of Business Fred Jackson - Mo' Beans Please! Herbie Hancock 2-Fer - POW POV

Jimmy Smith - Live at the Club Baby Grandassa Bobbi Humprhey - Static Drool Marlena Shaw - Who Is This Bitch Anyway? The New Heritage Keyboard Quartet - Thanks, George! John Lee & Gerry Brown - Thanks, George! Donald Byrd - Blank Bored Kenny Cox - Rescue Me!

Tony Williams - Spring, Sprang, Sprung

fhqwhgads ??? http://www.allmusic.com/cg/amg.dll?p=amg&a...11:qx4uak1k5m3v

Reuben Wilson w/Moms Mabley - A Droopin' Situation John Patton - A Serutan Feeling Hank Mobley - Drippin' Ike Quebec - It Might As Well Not Be Spring

Jackie McLean - A Freakin' Songanddance Lee Morgan w/The Joe Cuba Sextet - Bang Bang Cecil Taylor - Unit's Structure Ornette Coleman - Life in the Golden Shower Larry Young - You Need Some Tea? McCoy Tyner w/The Walter Brennan/Richard Crenna JazzTette - Meet The Real McCoys Sam Rivers w/The Moonglows - Fuqua's Swing Songs

Says a lot about this country! -_- Especially if the ratings drop now that Springer's off.

The Kalin Twins Al Kaline The Lords of Acid

Joe Milaazzo hipped me to the Hardee B&B session, and it's most worthy. I've yet to hear a side on this label that was less than pretty damn good. It's times like this when I wish I had big bucks (or no conscience about running up credit card debt), because I would buy every one of these puppies.

Tom Jones Woody Allen Hello Kitty

Absolutely! I once took "Blues For New Orleans" to a Quartet Out rehearsal for recreational listening, and I tell you - it moved the whole bunch in a way I'd have never suspected. Out of nowhere, Dennis started dancing with his wife , Lyles started screaming encouragement to the bass player , & Pete was babbling shit about how if everybody could play alto like Hodges, it wouldn't be such a loser's horn. : Myself, I was just taking it all in, and thinking that if there's ever been a better example of the Ellington sax section's mojo on record, I've yet to hear it. Gives me goosebumps just thinking about it. Very highly recommended.

Well, unless Dave Strauss has a proclivity for cashing checks made out to somebody else, and is in the habit of sending packages with that same name & address on the return address label, then what we have hear is a case of mistaken identity. Either that or else this Dave Strauss cat is a really slippery SOB. Not saying that you & Clem shouldn't go ahead and duke it out, just do it straight up, please.

YO!

Your gust, however, leaves something to be desired...

I have had actual cashcheckmoneyorder transactions with Clem, and his name is not neither Dave nor Strauss. So let's move on about that.

Who am I going to believe - a resume or my ears? Besides - "playing in R&B bands" don't necessarily mean shit, especially in the South. For everybody who's used that as a training ground/stepping stone/whatever, ther's been somebody for whom it was the best gig they could ever hope for, because playing little doobie-doop background licks stretched their limitations almost to the breaking point. Trust me on this one, I've spent more than a few years around that scene up close and very personal. Beautiful people & beautiful times, but the"talent level" varies extremely wildly. You got horn players playing with "name acts" (especially on the chitlin' circuit) who can't play shit. And you got some baaaaaaaaaaaad motherfuckers standing right next to 'em night after night. It's that kind of world, and I do know it well. Plenty of "romance" about "free jazz", plenty of projections of fantasies, both heroic & escapist, plenty of "nurses" looking for patients to heal, plentyof wanting to champion a cause just to have something to champion that's not totally slimey, and more than a little wearing of the music as a badge of "nonconformity". But that's all from the outside. From the inside, it's like anything else - if you want to make something worthwhile, it takes work, hard work, dedication, and a refusal to bullshit yourself. And like anything else, there's guys who get over on the strength of the spirit overcoming the flesh. And like anything else, there's guys whose accepted presence has much less to do with ability or spirit than the fact that everybody loves a clown.

The debate's as old as jazz itself, although it began as the "outside world" attacking the music on general principles. It really began in earnest w/the advent of the "free players", because whereas previous generations of jazz had worked more or less within the confines of "European" practices to one degree or another (although certainly turning them to non-European ends, thus the attacks), this generation was jettisoning many, many notions of that esthetic & going for something else entirely. That's a very broad generalization that's got more than a few holes in it, but it'll do for now from me. The thing for me is this - yeah, you need to express yourself, but you also need to do it with some sort of refinement (which is not to be confused with "class"). If just playing anything any way was the object, then hell, everybody would be a great artist. And there's people out there today, players and civilians alike, who subscribe to this theory, that "I'm a beautiful soul, you're a beautiful soul, we're all beautiful souls, so that makes everything we do beautiful soul music". Me, I think it's totally naive touchy-feely bullshit, but that's just me. Yeah, we're all beautiful souls, but so freakin' what? What comes after that? No, you gotta do the work. I'm anything but a perv for "technical correctness", there's a lot of different ways to approach music and instruments, but dammit, the one thing I do want to hear out of anybody playing any way is some semblance/clue/hint/whatever that what's being heard is the result of somebody who's taken the time to tackle the instrument and make it do as much of "their" bidding as possible, not somebody who's just up and decided that "spirit conquers all". Because it doesn't, except in teenage fantasy. Even the Republicans (to use but one example) know that no matter how much escapist bullshit fantasy they peddle to their audiences, there's got to be some serious work going on to move their game along. That's reality. So Giuesspie Logan, I can hear some work. Donald ayler, I can hear some work (and a lot of insane refusal to realize what playing a brass instrument that way can do to you...), Albert, Cecil, Roscoe, Braxton, all the"usual suspects" (and many others) , I can hear lots of serious work, both immediate, residual, and ongoing. But Doyle? C'mon man, the cat's an "eccentric", pure and simple. If you're into that, fine, it's cool for what it is, but it ain't the foundation for building anything on other than the building of a culture of glorification of the eccentric. Cool, even more distractions... Brotzman? I understand the appeal (and can hear the work, definitely), but do not find it all that appealing myself.

The Enema Bandit Smokey Robinson Lori Fumar

Still remember finding a promo copy of this on a rainy afternoon @ a HalfPrice before it had made it into the stores, going home, firing up, and the buzz getting just right at the same time that "Obsequious" started. Woody's dead now, and no more firing up for me. But that's a sweet memory.

Your assessment is fair enough, & I'd agree with it about a lot of Nordine's work.The stuff of his I really like is that which displas a dry, cynical/dark wit. Not nearly as much of that on this set as I had hoped for, but oh well.. But something like "Bury-It-Yourself Time Capsule" or "What Time Is It?", well, that's gold for me.

I'm no music professional, but I have a pretty strong suspicion that he doesn't know how to play the tenor saxophone [i would probably do just as well if someone showed me which buttons do what]. Oh god, where to begin. Time for Certs in reverse - STOP! You're BOTH wrong! Dmitry, if you knew what "buttons" did what, then you could play the tenor saxophone at at least a rudimentary level. That's kind of a basic (very basic...) definition of knowing how to play an instrument. CT - no, overblowing doesn't necessarily take power, and false fingerings don't necessarily come by design. Sometimes you can just bite the reed and wiggle your fingers, and if you do it long enough, say, fifteen minutes, you can get an idea of how to control the basic contours of the resultant sound. Use your own speech/neurological/etc impulses as a guide to when to stop & start & when to go up or down, & hey - you got a language. Do it long enough & you can even have a "style". But what else have you got? In Doyle's case, I've heard absolutely nothing to suggest that he knows how to play the instrument even a little bit beyond the little bit of doo-dah that he's worked up for himself. Once you've heard it, you've heard it,and that's all you're going to hear, because that's all he can do. Is it "compelling" and/or "powerful"? Yeah, sure, why not, but so is listening to a derelict in a bus station talking to himself in a crazed babble. Is he speaking in tongues with inspiration from beyond, or is he just hearing voices that nobody else can hear, probably because they're voices of his own invention, and not necessarily an invention based in "creativity"? Ayler was a freakin' virtuoso saxophonist. There's shit on Spiritual Unity & Vibrations that will fuck up even the most accomplished saxophonist. And Ayler's use of the altissimo register and false fingerings showed a lot of control of both embrochure & fingers. You gotta have chops to do what he did like he did it. As you do to do what a lot of other post-Trane/post-Ayler players do. You don't gotta have chops to do what Doyle does. You just gotta hear voices in your head, either literally or figuratively, and find somebody to listen (and there's always somebody to listen...). Sure, it's not without "fascination", but when people start thinking that this guy should be taken seriously at any level beyond that of the aforementioned "curiosity", well hey - I gotta leave the room lest I become insultive in the extreme. (And yeah, there's plenty of players of whom it can be said that all they can do is what they do. But if degrees of advancement of one's limitations don't matter, why are most of us walking and running and driving and flying and talking and writing and doing all sorts of things instead of just continuing to crawl around the floor babbling & crying?)