JSngry

Another Instant Classic!

Or, at the very least, only a part of it.

I wonder what an article with the same title written in 1976 by Kenny Drew Sr. would have read like?

Because things keep changing more and more and we're freaking out that they ain't never gonna be like they used to?

Cleopatra Jones Foxy Brown Christie Love

Anybody heard Ursula Rucker? Poetry w/"techno-jazz" backing. Her stuff's got an overall positive (if often "angry" and extremely graphic) message, and none of the "linear" musical qualities that Mr. Drew bemoans the alleged loss of. Yet I find it both intellectually stimulating and sensually attractive. So what am I, stupid or a dupe? Maybe, sometimes, but not always, and not here. I don't think so. Or what about Monday Michiru? Her new album has a bunch of stuff that's structured like "club mixes" in terms of both arrangements and grooves, hell, it often feels and sounds like a club mix, yet it's played in real time by real people on real instruments. And there's room for some excellent, creative instrumental improvisation along the way. Her stuff moves and breathes and lets you do the same right along with it. If you want to. IF you want to. And if you don't fine, that's your choice. But it ain't the music's fault, dig? So this whole "shit ain't happening 'cause it's mundane machine music made by thugs to destroy our society" is just so much "life's passing me by and I don't like it" if it's delivered w/o an awareness of alternate currents in the same general stream. There's something happening here, and you don't know what it is, do you, Mr. Drew? Never, ever blame a "style" or the "technology". "Style" is just a marketing tool, and tecnology is just a tool, period. Both are going to be as good or as fucked up as the people using them.

Ok, and the "anger" was in no way directed at you. But even as a description, "out of tune" still implies that there is one "tune" to be "out of". T'aint so, sez I.

Exactly.

Could be, but I'll defend Crouch (ONE TIME ONLY! ) by saying that if he does indeed somewhere deep inside himslf "know" (and I do believe that he at least once did), that Jackie's death hit him hard in that place, just like it did the rest of us. I took his brevity and relative lack of polemics as a mark of just how hard it hit him. Jackie was more than "just" a "jazz muscian" or "one of the last of an era", ya'know? The guy spoke to, for, and about a whole 'nother thing that was more than all of that. We all know that (at some level) and we all felt it (at some level). I really think that Crouch has respect for that, as well as the fact that to do his usual bullshit on Jackie McLean would be fundamentally wrong, even for him.

Ok, just read the article. Cat's right on the sentiment, but his argument per se is full of shit. Life goes on and the world changes. so does music. I can accept (and share) outrage about " moral content/intent", but not about the new forms of expression or the techniques thereof. Let's face it - linearity is on the way out (just because). The challenge is not how to "save" it, but rahter how to deal responsibly and positively with the new, emerging, inevitable omniverity. (and if "omniverity" is not a word, let's make it one!)

what the f*ck happened to the link? Lose the tiny-thing, dude. It ain't worth it! On a general level, though, I'll say up fron that popular music is like popular government - "the people" will ultimately get the quality of product that they desire and/or deserve. When they don't, it's no longer "popular" anything, it's fascistic or some such. But to even get to that point, people have to acquiesce.

Otoh, one could argue that the heroin years was at the emotional root of the mastery that followed, especially if one looks at Jackie's (and others') heroin experience throught hte lens of socio-political-spiritual experience and not through the lens of it being simply a "personal problem".

I was simultaneously fascinated and frustrated by the book. Fascinated because it show the musical evolution of "pre-bop" in a way that most/all "traditional histories all but ignore. By ignoring that, they paint a picture misrepresents the music as music. Frustrated because bebop in it's earliest stage (or more accurately, it's post-earliest earliest stages) was about a lot more than "just" music. In his attempt (correct, imo) attempt to de-mystify the music, DeVeaux misses out on this. Whether or not he's/we're botherd by that,and whether or not he/we should be, is not for me to say. I'm content saying that it's a book taht is just another piece of the puxxle. A very valuable piece, to be sure, but ultimately just a piece.

"Out of tune" from what? ???????????????? Massa likes us to think that there's only 12 tones and that they all gotta be in the same place at the same time. Fuck Massa. Fuck him in his mind-controlling, soul-sucking, be-where-I-say-so-you-can-do-what-I-say ass. The only thing that's "out of tune" is something that is not where it's felt/meant to be.

Imports, slowly but surely.

Shadrach Meshach Abednego

Vernon Law Bob Moose The Royal Canadian Mounted Police

But we got by.

I'd wet my britches if I could find a Monday Mirichu side for under $20.00!

Hell, Paul McCartnery said the same thing - "Do me a favor - open the door & let him in". And Bird played some silly love songs, too. Not that McCartney is a genius like Bird, but you gotta wonder about things like this, eh?

I think it's "leg".

Wink Martindale Smiley Winters Elroy Face

I kinda think I liked it better when you bought a record, it sounded how it sounded, and that was that. You got the music out of it anyway.

Grammatical errors being the only real point of contention should be considered a major triumph for a Crouch piece!