JSngry

Now see, that's why I wish I could dance!

Hey, you got me to buy it! Cool! Glad somebody noticed. Me too. Glad somebody else noticed! How did you like it?

I seriously doubt it.

Up?

Boo Boo Yo Yo Ma Yo' Mama

I'm reading the interview w/Teddy Edwards in the April 1994 issue of Cadence (one of their better and more fascinating oral histories, btw), and they're talking about Ornette's early days in LA, a pretty interesting topic in itself, and then Teddy drops this little nugget: The talk then evolves into discussion about how Ornette and Dolphy were both guys who could play but who couldn't "follow the meter" (Teddy's words). But I'm reading this and virtually SCREAMING at Rusch to get some more details about this record date. But he never did. Oh well, great interview anyway. So hey - has ANYBODY heard about such a date? I sure haven't. But I'd sure like to hear an early 60s date of Teddy Edwards & Don Sleet playing Ornette tunes, just because. Anybody?

Placido Flamingo Guy Smiley Snuffleupagus

Bill Chase Al Porcino Ernie Royal

Little Orphan Annie Punjab S.J. Perelman

But Chuck, when you dance, you're charming and you're gentle. Especially when you do the Continental. But this feeling isn't purely mental For heaven rest us, I'm not asbestos And that's why i won't dance, why sould I? Fair enough. Merci beaucoup!

Not to derail my own thread, but that reminds me - how the hell did French Lick, Indiana get their name? Or is that something I don't want to know?

Tupac Elvis Andy Kauffman

But Chuck, when you dance, you're charming and you're gentle. Especially when you do the Continental.

Hey, you got me to buy it! Cool! Glad somebody noticed.

Isn't this the gig where Trane broke in "Resolution" in a different key? I know a tape of that exists, because somebody played it to me over the phone.

Marzeet Oates Dozee Doats Little Lambsy Tivey

WORD!!!!

Tom Parker Porker Davis David McDavid

Where have you gone, Robert McCollough?

You know, in clubs and stuff. I WISH I could dance. But I was born with ankles and feet that just don't move like the rest of me does. The tyranny of congenitality. And I got kinda bad knees these days. From the knees up, I'm good to go. But that's not how you dance, is it... Anyway, when I hear a good fluid dance beat, my spirit soars. To me, dancing and singing are the most natural forms of expression. No instruments or other tools needed, just you and your body channeling the lifeforce. Shortest distance between two points. Of course there's sex, but that's another thing altogether. If I could dance and/or sing really well, I'd be the happiest person alive, I think. But alas, such is not my fate. How many of y'all dance for pleasure? Ballroom, salsa, moshing, whatever. Myself, I really dig a modern, latin-y/disco-y/funky/swing-y groove, nothing heavy or pounding, just a fluid, elegant flow that allows for and encourages a spontaneous bodily engagement. To me, feeling that is as good as it gets. I want to dance like there's no tomorrow. And i do - inside. Ok.

The Mudville Nine The Chicago Seven The Jive Five

Steve Miller Reggie Miller Mrs. Miller

That's a good observation. I mean, you can fly around on the instrument, guys like Rosolino, Watrous, & Ray Anderson have proved that, and I dig Anderson big lots, Rosolino quite a bit, & Watrous I respect. But yeah, you gotta work harder on the bone to do what's already hard. There's definitely other ways to approach the instrument, ways that are more "intrinsic" to the nature of the instrument, and overall, it's the cats who hit it that way that I tend to gravitate towards. Just like I tend to prefer bass player who play a bass like a bass rather than a like a guitar. It's all good, ya'know, but I do have my personal preferences. Sue me. The thing I've always dug about Grachan's playing and writing is the high degree of specificity, the total lack of superfulousness. And that's not equating "high-density" with "lack of specificity" either. It just means that when your playing and writing is as totally devoid of "filler" as Moncur's has been over the years, you damn well better be able to say exactly what you want to say. With a few exceptions (notably some things from a few years ago where it sounded like his chops were pretty much gone), that's what he's done, and the clarity of communication of vision that's resulted has been something that I very much appreciate. No ambiguity of intent, no foo-foo, no licks to kill time waiting for a real idea to pop up. In short, no "diversion" from the core expression. "Shortest distance between two points" and all that.

Jim Adler Brian Loncar Dr. Booth

Julia Duffy Duffy Jackson The Jackson In Your House