JSngry

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

Indeed! Hope they can find a moneyinthepocketful of unissued material to pad the sucker out. Side One of that LP is as strong a program of uncompromised soul-jazz as you can find. And Side Two ventures into some slightly "inside-out" territory that might raise a few eyebrows of those who think that the post-Mercy Capitol sides were devoid of any "serious"jazz. T'aint so, t'aint so, t'aint so! Now, if and when the reissue of Black Messiah is announced, I'm taking a day or five off work to throw a party!

Well, we're definitely into "matters of personal preference" here, but before anybody dismisses Lacy's solo output out of hand (and count me as among those who find it mesmerizingly brilliant), a listen should be had to Hocus-Pocus Like the Rollins album, it's essentially a "practice album". but the difference is that, whereas Rollins totally free-associates, Lacy plays a set of etudes that he composed to address specific musical/technical issues and then improvises on and off of them. His melodies/themes/motifs/etc are always to the fore (as they always are, imo), and the developement of each etude is really easy to follow. Seems that Lacy wrote a buttload of these type etudes, but this would appear to be the only recording specifically dedicated to them (if I'm wrong, please let me know). More's the pity. What else is a pity is that, although it's one of Lacy's most essential albums (imo), it's damn near impossible to find, and was from the git-go. But if you do find it, carpe diem.

The trumpet solo sounds like Michael Ray to me, but now that it's been mentioned, the tune itself does have an Ibrahim-ish flavor to the ensemble sound.

Cosimo Matassa Cosimo Bottegari Annie Haslam

My sentiments exactly. Henry Threadgill is a treasure.

Case in point:

Because he's an idiot?

Tell you what, I do think he's right about the type of jazz that he thinks he should be selling - it's not very exciting. But then again, it wasn't very exciting when he was excited about it. It's taken him this long to figure that out? What excites him - music or sales? Does he even know the difference? The guy's an idiot.

Whether or not he's right or wrong, I don't think that he's a guy who knows enough about what he thinks he's talking about to be talking about it. I've heard a few stories.... Besides, how can I take anybody seriously who has/had access to Monday Michiru's (yeah, her again...) Japanese Polydor output and doesn't jump all the hell over a chance to release it stateside? That man has to be a full-fledged idiot.

Two things happened today that are curious. First, I tried to uninstall ZA Pro, and it wouldn't let me. Said that the True Vector Service was in use. This after I had cancelled ZAP during the boot, where it keeps trying (unsuccessfully) to initiate. Second, while printing out my Contacts list from Outlook (no telling how long it's going to be before this machine becomes functional again, if ever), I got a message saying that my Virtual Memory was low, and that Windows was reconfiguring the space allotted for same. I've got close to 3 GB free HD space, and I haven't changed my VM settings since Day One. So why the trouble with that all of a sudden? Any chance that I got a memory issue going on? On the computer, that is... This is curious, but I have to admit, as long as I have access from home, trying to figure out what the problem is, with y'all's help, is not without a certain sense of adventure...

I don't necessarily trust the fuscia hairs to have much of a sense of "historical context", but I sure as hell trust them a lot more than the blue hairs to have a sense of what's happening right now. What's the midway point on the spectrum between blue and fuscia? That's what color hair I want to be.

Exactly!

Exactly, and to that end, the question of when "social significance" began to enter into the "bebop consciousness" would probably have to be "as soon as it started to be played as anything other than a wholly private music", which was pretty early on, since Monroe's & Minton's were only "semi-private". Now the form that that "social significance" took no doubt varied widely from person to person, but I ahve to think that it was there in some form in darn near everybody who was involved, even the white cats. Don't see how it couldn't be. That's what I think anyway.