JSngry

Stanley Dance was a bad muthafukkah.

Nothing wrong with that game last night that better first half shooting wouldn't have fixed. So fix it guys, fix it.

The "big deal" is relative, I suppose, to what you're looking for and/or get excited about. And on that, of course, mileages can, will, and should vary wildly. For me, it's the creation of a "unimusic", one in which any and all heretofore "genres" can (and do) exist simulataneously, not as grafted on or otherwise self-conscious "fusions", but as a natural, organic, whole. This is the way the world is moving, and this is the way that popular music is eventually going to have to end up if it's ever again going to be a truly relevant form instead of a simple catering to people's prejudices and limitations. Is she the only one doing something like this? I don't know. I do hear some "jazz" groups trying to do much the same thing, and I do hear the occasional "pop" artitst who's musically literate enough to approximate some of waht she does. But I've yet to hear anybody do it so naturally or so totally. What relevance does this have to me as a "jazz" musician? Plenty, really. In the first place, jazz as we've known it isn't dead, but it's on it's way. Has been for quite a while, really. The sociological environment that produced the really real shit is all but over. We can play the various styles of the last 100 years or so with all the sincerity and conviction we can muster and it will still be "good music". But will it be as relevant to the "now" as the originals were? No. Can't be, and won't be. That may or may not matter to some of us, and that's cool, but to those of us for whom it does, we're faced with the quandary of having acquired all this knowledge and all these skills and not really having an end with which to put them other than holing up in a niche-world and feeling "special" because we've got what we've got. Hey, go for that if you want, but that's not my idea of a good time. There's a lot of musics that are inthe same awkward position. Jazz is just one of them. There's all these tools to put to use, but what use really matters? Well, Monday's music has a place for damnnear all of them, and the thing I like about it is that it doesn't sound in the leat bit "retro" or "fusion-y". That's because she's got as much of an ear for contemporary music as she does for the older styles. In her stuff, a Joe Henderson-inspired tenor solo on a house track that also has African-derived percussion and phrasing in the vocals just ain't that big of a deal. That's the way she hears that shit. That's also the way that I think a lot of us are feeling things internally/subconsciously. It's just that we're very much in the midst of a paradigm shift of consciousness right now, and a lot of us aren't quite yet able to hear what it is we're feeling going on around us. And if we can't hear it we can't play it. Or, if we can only partially hear it, we can only partially play it. That's where the various "fusions" come in, I think, the sincere ones anyway. But Monday feels it and hears it, so she can write it and play it. I've had the reaction more than once of listening to one of her things and not being really blown away by it until I listen closer and suddenly WHOA! Just what the hell IS this? An examination of the "ingredients" reveals that there is no one "style" at play here that dominates over the other. There's a mixture, and if you could take any one of them away, you'd be left with something altogether different in both intent and execution. This notion of a "unimusic" excites me, because as far as I'm concerned, it's the only logical "next step" not just for music, but for humanity as a whole. Progress, evolution, whatever you want to call it is inevitably a process of thingsgrowing indivdually for as long as is healthy and then eventually losing their specific identity into the formation of a new whole. From there, of course, the process of separation begins anew, but the process is dependent on an eventual assimilation at some point. We're at that point now, I think. Have to be. And "unimusic" is going to be the result. Has to be. Monday's music is just the first (or among the first) to sound the call. There will be a helluva lot more to follow. But right here, right now, somebody's doing it. It's a taste of things to come, again, not just musically, but socio-culturally. That's what the "big deal" is to me.

Moose Skowron Jazzmoose Bull Moose Jackson

Well....ok. But the original post specified that the question was not about vault reissues. So, I guess you're not related to Jelly Bean?

Will do.

Millie Meter The Inchworm Sweetfoot Simpson

Tony Parker reminds me of a gay pimp pretending to be straight. Not that there's anything wrong with that...

That's got two too many wheels.

Dallas is not the Pacific Northwest, but: http://www.bluffton.edu/~sullivanm/texas/d...oore/moore.html

Trane Heir Apparent Conditioning Coach

Thanks!

I've always enjoyed Green's notes. Kinda goofy at times, sure, but never uniformed, and not without insight/empathy to the jazz-making process.

That, my Albuquerquian friend, is exactly what I'm talking about. Assuming that Blake was the instigating force behind these remixes, I'm wondering how involved in the actual remixing process he was. Did select the DJs, he suggest a general direction/vibe to them, did he work with them along the way, did he send them back if he wanted changes made to the first results, did he etc.? I must admit, this whole remix thing is not without interest to me. Certainly not a substitute for live music-making, but taking pre-existing "raw materials" and using them for your own creative ends ain't exactly something new...

John Birks John Birch Society's Child

THIS is why they call me "Coach Pop"!

Wow.

Never have liked Tony Parker, never will. Ever. Duncan, otoh, I dig. Very much in fact. The guy's a trip, what with his constant mind games. I dig athletes who are constantly mental. Seriously. But he does have a turtlehead. No way around that. Still, he's on my team anytime.

Julian Lennon Larry Sheets John Coltrane

If Quartet Out ever tours Lithuania, this cat's driving the van.

Duncan is a great player and teammate, and I'd have him on any team of mine w/o a moment's hesitation, but the man has a turtlehead. It's Tony Parker whose ass I would like to stick a broomstick up. Motherfukkin' snideass little bitch.

Everything vibrates. Everything. The senses are nothing but receptors and processors of vibrations.

I found the original liner notes to O'Neal's Porch to be delusion, perhaps even borderline psychotic. Great side, though.

My gut tells me that the Mavs have actually got a good chance tonight, especially if Jet feels the need to pay penance to his teammates. Game 6 was a display of the "old Mavericks" limpdickness. Other team isn't hitting? NO PROBLEM - we'll not hit either! Avery's been working on that bullshit all year, sometimes with better results than others. Tonight's the night to see if anybody's really learned anything this year. They can win. Whether they will or not...

Ok, I'm not talking about "vault remixes", I'm talking about the remixes that get put out on a contemporaneous release. I'm wondering who decides that a remix can/will be done, and who decides who's going to do it. Is it entirely a label/producer decision, or is the artist involved at some/any stage? I'm sure it varies from case to case, but I'm talking about what "the norm" is. Seems to me that there's some creative work going on in this field, as well as a lot of bullshit. But the announcement of the upcoming Ellington Mosaic got me to thinking that Ellington was maybe the/one of the original remixers, often recording the same song in different versions for different labels in a relatively short time frame. Yeah, in a lot of ways (some of them pretty fundamental) it's not the same. But then again, in a lot of ways (some of them equally fundamental), it's not all that different. It's still a matter of taking the raw materials of a song and making the same different, which in turn highlights that the different is still the same. Anyway, that's not really the point. I'd just like to know the "usual process" that goes on for a song to be released in several different versions at the same time. It's something that interests me at this juncture. As always, thanks in advance!