JSngry

Ruby Dee Ossie Davis D.D. Lewis

The triplet thing leading into 4 bar solos didn't last long.

Robert Bork Porky Pig Mel Blanc

Wasn't aware that "Take Five" was a Billie tune. But nobody seemed to notice. Hey, it's all "jazz", right? And she didn't make the changes on the bridge either. But nobody seemed to notice. Hey, it's all "jazz", right? This was my first time watching Idol other than in drips and drabs. I can see the attraction, such as it is, but I think I'll resist, thanks anyway.

Ah, but it will serve Massa's purposes quite well...

Had an interesting listen yesterday, Cannonball's Capitol side Live! (recorded in 1964). On "Work Song", his solo is definitely stretching the harmony, and he's definitely working with some Trane-ish rhythmic ideas. And on the modal-ish "The Little boy With The Sad Eyes", although his harmonic approach is still pretty straightforward, his phrasing is a lot morefocused and "definitve" than in was on KOB from five years earlier. But on "Sweet Georgia Bright" (Charles Lloyd was in the band, btw, as were Zawinul, Sam Jones, & Louis Hayes), he takes what could easily be a vehicle for Trane-ish blowing and approaches it old-school Cannonball, masterful slash-and-burn boppishness in every regard. All of which suggests to me that Cannonball looked at "figuring out" Trane as an ongoing personal quest. He wasn't going to alter his whole approach and bring his career to a standstill just to do it, but he wasn't going to keep it strictly to himself either, much less let go of it entirely. As he got more comfortable with it, he started playing that way on even the more "commercial" material (a lot of it, anyway), which is what I meant early on about him doing it "on the sly" careerwise. Listen to him on almost any of his 70s albums for either Capitol or Milestone and you can hear what he'd been working on really come to the fore in his playing, no matter what the context. He didn't "back away from the challenge" and he didn't jump overboard in a rush to be somebody he wasn't. He just did it at his own pace and in his own way. Like I said, I gotta love him for that. BTW - that Live! side is very nice, perhaps the most "uncompromising jazz" Cannonball side that Capitol ever released. Four long cuts ranging in time from 6:25 to 15:05, even with what I suspect to be significant editing of Zawinul's & Lloyd's contributions. It really should be reissued, and bonus/unedited cuts would really raise the ante. It seems to be his first recording after the 1963 Japanese tour, and although I prefer Lateef to Lloyd, this was a cooking band, as their portion of the Night Music/Hyena Radio Nights side attests.

There seems to be some dispute as to whether or no Dolphy is the soloist/obbligattoist on the Platters sides listed. My question is this - how can we know for sure one way or the other? Dolphy would probably have been "playing the style", so easily recognizing him might be all but impossible. Might be. And if it doesn't really sound like Dolphy, even if it is, if he's just entirely role-playing, what difference does it make? Well, ok, if it's Dolphy on tenor, any style tenor, I want to hear it...

Yep. Go to the site and watch the film clips. Also note - the Ed Townsend sessions that are listed as w/Dolphy & Gerald Wilson are by the same Ed Townsend who became Marvin Gaye's co-producer in his last years.

The Stinky Cheese Man Amelia Bedelia Amber Brown

Theo Huxtable Chet Kincaide David Brinkley

A wild guess - George Young?

Cheesey it might be, but it's totally sincere. Black Nationalism goes away with The Age Of Aquarius for a Love-In Of The Mind. Truthfully, I dig it. It's not "great" by any stretch of the imagination, and calling something like this "good" is a purely subjective call. The "production values" are rough, the "messages" are incredibly naive (but again, sincere), and at times, the combination is "embarassing", or at least unintentionally campy. Of course, if you "weren't there", it probably just sounds silly. But I was - and yes, it sounds a bit silly to me too, but not just silly. A lot of cats in "the community" were doing stuff like this back in the day, this Trying To Reach The People With A Positive Message thing. We can all laugh/cringe at it today, but there's far worse things to do with music. This kind of thing is exponentially less cynical than is a young cat of today attempting to build a career off of playing retrobop thinking that it's somehow a more "dignified" thing to do. It's not. Give me the naive sincerity of the moment over necrophillia as ego trip any day. And by all/any means necessary, always Do Right.

The lack of published method makes it even worse. It reminds me of the "non scientific" polls that CNN runs. It is a classic paradox. The presentation of the poll is intended to induce the belief that the poll is meaningful; but the poll is explicitly disclaimed and the lack of controls and adherence to scientific methods entails that the poll is meaningless. If you want to know how much ignorance is expected of the viewer/reader, that is a measure of it. The same is true here. Anthony Braxton would no doubt call it an example of the Spectacle Diversion Syndrome, and he would no doubt be right.

http://adale.org/Discographies/RockAllNight.html Recieved via e-mail: That site is definitely worth looking at. Here's a sample photo: And there's more...

Don Redman Cindy Blackmon Sidney Greenstreet

Or put another way - the names and faces of "the experts" (and who determines just who "the experts" are) change, but the bullshit stays the same.

Personally, I think it shows that the more things change, the more they stay the same.

Wasn't aware that the guy had changed instruments.

Randy Weston, Ran Blake, Muhal, Paul Bley, Dave Burrell, they're all living. However, whether any of them is more worthy than Peterson, Evans, Previn, & Green of being included on this list is highly debatable...

I'll say. How did a trombone player make the list?

Even further - once you get into the Free Movies section, it's in the Palm Videos group.

Not much love from the hometown crowd?

You knew darned well he was a snake before you took him in... Reason says Seattle to win the Bowl, but instinct's saying Pittsburgh. Cowher's a freak. We shall see...

And you can. At least for a while...

The rimshot itself is as old as the trap set. Probably even older? Lots of variants on how much snare is included, though. Woodyard's rim shots were mostly on 2 & 4 (and in anybody else's hands, especially Bobby Durham's, it bugs the piss out of me like few things do...). Philly took it down to just the 4, and later opened it up to just the 4 on every other bar, which is the beat in question. Did he invent it? I can't say with any certainty. But he certainly popularized it. All the old cats I've known refer to it as "the Philly Joe beat".