JSngry

I have it. Got it as a cutout back in the day. Very good stuff, but perversely short playing time. "Don't Get Sassy" features a lenghty (& delirous) extended Joe Henderson solo. Worth the cost of admission for that one alone. No Volume 2 that I know of. I've heard stories that that tour was a "source of friction" between the players and Sonny Lester.

Yes, it is. Although I don't know if it's "club" live or "live in the studio". With David Axelrod producing, you never know. I got it on a Capitol reel-to-rell that I can't play any more. I think. I'm afraid to plug in my reel-to-reel for fear that it'll blow up after years of disuse... That's another good'un that's unduly lumped in the "all commercial" bag. It's a little more commercial than most, but there's still some good meat on that plate.

Yeah, that's a good'un. Desmond on "What Is This Thing...", wow. Although by this time (or this album, he wsa basically playing his solos and then sitting out. But such solos they are! Still remember buying it (mono 360 in a plastic inner sleeve with a tear-off top!) for $0.99 at a Kilgore, Tx TG&Y store on a 1972 Wednesday night before a Lent service at Pilgrim Lutheran Church, corner of Broadway & Flory, Rev. Harold Wageman (the only clergyman in my life for whom I still have high - the highest, actually - respect), Pastor. It's still there, against all odds (and against all hope...). Doesn't every family go shopping at an out-of town dime store before going to a mid-week church service? Why I remember this is because during the entire service, all I had on my mind was those legs. Even now, if I think of Brubeck, I think of those legs. And since I got a MONO copy, I got me a little bit more leg to remember. (the young men don't know, but the old folks understand). Also semi-remember (although from a later date) the classic opening line from the DB review: "The pedant of the piano meets the poet of popular music". Or something like that. Agree or not, it's still a great line.

i don't think they need to have ambitions beyond that!

LL Cool J LL Bean Matt Pinto

Yeah, well, that's why we're where we're at today.

Do they have Tower in Bulgaria?

EX-cellent choice.

Yes, he does have a point, and a good one, at least about the type of jazz that he thinks he should be thinking of as jazz. I just don't think he realizes why he has a good point, or how things got to the point where his point is a good one. In fact, I know he doesn't. Well, I kinda know. Like I said, I've heard stories, and if they're even half-true, the guy would be better suited running a brokerage firm than a jazz label. Totally concerned with "foregone conclusions" in terms of sales, not at all concerned with "artist developement". I know you gotta have both, but this guy only has one, and only one concern. That ain't gonna get it done. As for Threadgill & Coleman, Threadgill actually was "on the verge" in the late 70s. Then the world, including the jazz biz, took a hard right. Coleman was caught in the aftermath. No sense rehashing all that. But I still say that "exciting" new jazz could and still can capture its own market, which might never be as large as that for the old stuff, but is probably bigger than the corporate heads think it is. You just gotta get behind the shit the way you do anything else. Get people curious, give them a fair chance to hear/buy it, and then let the chips will fall where they may. If 2 out of 3 people don't like it, that's still one new fan you din't have before. What I think is the problem is that A) the suits just flat-out don't like that kind of music; & B) the size of an audience that could eventually be developed is smaller than they've been trained to think of as "acceptable". And maybe for a mega-corp, the numbers aren't worth fucking with. Probably not. But that's not the music's fault. And maybe these are not the people to be handling the business end of future of the music. Probably not. But if that's the case, Mr. Goldman should just shut the fuck up and move his product as best he can.

Boy-howdy-ar-dee!

To be honest, though, I've always liked the concept more (relatively) than the results. But I guess the concept might have been the point.

NOW. Dude - you don't want to fuck around with anything that close to your brain. Get your ass up off the computer and go get it looked at NOW. And don't come back until you can tell us that you got it taken care of.

You know where I think I first read about this album back then? In a review that made me go right out and buy it? Penthouse. I kid you not.

Yeah - the later live stuff on RCA and the live stuff on Label Bleu. It's got some hip freestylin', it's got some badass horn playing, it's got killer grooves that go in a bunch of different directions at the same time, it's all good, it's got at least a modicum of street cred, and don't none of it sound old. In other words, it's "exciting". But your average "jazz" person has been so brainwashed, wish-fullfilled, and fantasy-seduced that they would probably say that it wasn't jazz. Oh well. Can't help that. After all, the price of making a deal with the devil is the loss of your soul to eternal damnation.

Damn, has it been 25 years? I feel old...

And that would be where some sort of hip-hop/jazz that was rooted in music rather than hype would be something that should have happened a loooooong time ago, except that "jazz musicians" were too busy putting on suits, moving into Lincoln Center, and in general becoming snoots rather than remaining connected to the hereandnow of their communities. M-Base was an early attempt, and although the results were mixed, Steve Coleman does have it going on today. The kinks have all been worked out and that shit is together. Hell, Threadgill always plays something with a danceable pulse, and so do a lot of the "free" players who represent the last pure wave of non-reactionary evolution. But they're those "not really jazz" guys who've adopted the pretensions of European concert music, remember? And in the meantime, those who refute the pretensions of European concert music play repertory concerts in massive concert halls as part of subscription series and go after government and corporate patronage. Boring? Oh HELL yeah. The irony is rich, to put it mildly...

True on both counts, although the only cuts I can really call lame are the two that bring Mike Deasy to the forefront. But "The Chocolate Nuisance" more than makes up for it.

Rick Henderson Paul Horn Geezil Minerve

Peggy Lipton Billy Swan Meade Lux Lewis

Conventional wisdom has it that the dinosaurs which survived did so by evolving into either birds or lizards. Soar or crawl, Mr. Goldman.

You lucky dog!

Those Pi sides are killer too. Carpe diem on that label, because I can't see them lasting forever. Too much good music for a world that's not particularly interested. One thing I've always dug about henry is that he always, always, plays w/some killer drummers. From Steve McCall to Gene Lake to Daphnis Prieto, he gets great players and sets them up in settings that encourages their greatness. Not every bandleader knows how to do that. Not even every composer knows how to do that. Too often, the tendency is to create a vision and then get the players to fit into it. Henry's vision depends/demands that the vision fits into the players. Not every player is gonna be up to that, but the ones that are are more than up to it. That's why there ain't no bad Henry Threadgill records.

Nelson Boyd Rocky Boyd Charlie Parker

This is one of the greatest/funniest days in O-Board history! Lest there be any doubt: Check It Out This thread in particular had me thinking that something was up: http://www.organissimo.org/forum/index.php...topic=23643&hl= Let's all avoid the bird flu!

Baby Jessica Dave "Baby" "Cortez Baby Face Willette