JSngry

So, these must be empirical quantities then. I'd like to see the data that proves this. Anxiously awaiting the bar graphs and pie charts...

Dude, if you're waiting for a time when "most people" evaluate music, any and all music, primarily on an informed technical awareness of its mechanical components, I suggest, as a friend, that you get a time machine and set it to, like, NEVER!

George Wallace George Wallace Chris Rock

The cash bar?

Bill Hardman Dick Wellstood Pithecanthropus Erectus

Tatu Pele Judie Carne

Marlon Brando Maria Schneider Bernardo Bertolucci

Did Ra do just the one spot? I can't remember...

Just had a listen to Cannonball's Accent On Africa, a 1968 Capitol side that Axlerod produced and arranged. Definitely more of an "Axelrod Project" than a Cannonball one, which goes to Chuck's poiints. Other than a few moments here and there that show, as per another thread, the ongoing Cannonball digesting of Coltrane, he sounds like a guest on his own album. Still, it's a musically technically interesting album. Axelrod paints in broad strokes that are bright but never florescent (his writing in the big band passages - assuming that it is his writng and is not ghosted - suggests Kenton without at all recommending him. a pretty nifty trick in and of itself) and there's a layering of textures and dynamics in the mix that is definitely the work of somebody with both a vision and the chops to pull it off. Maybe not my cup of tea from a personal standpoint, but I gotta respect it nevertheless. It's "Technicolor" yet controlled, not at all an easy a combination to pull off. The "studio as an instrument" approach to making albums applied to jazz. Not sure what, if anything, jazz gets out of the deal musically, but like I said, the technical interest (in terms of the production/recording/assembly process) alone is something I can't deny. It's definitely "a commercial" approach but not at all "lowest common denominator" musically. Too many ingredients! Not at all familiar with his work as a leader, but if it's mostly productions like this one, I can definitely see the attraction, as well as why this online reviewer of Stan Kenton's Hair album referred to that album's arranger Ralph Carmichael as "the Christian Axelrod".

Dewars. It was a "Dewars Profile". Braxton on Arista, Sun Ra & Ornette on SNL, Threadgill pimping Dewars, yeah. Those were the days.

I'm guessing that they're referring to the conscious inclusion of the entire continuum as equivalid grounds for inclusion and exploration instead of just playing in one basic "style".

K.D. Lang Jim Lang Bob Eubanks

Brian Wilson has indeed come back, but he's undeniably suffered permanent brain/neurological damage from all the blow and relies on a rather strong and devoted support system to function in the public arena. I'm heartened that he does, but let's face it, left on his own, the guy would have have difficulty. Beleive me, I love, truly love, Sly. He was, at his peak, one of the true geniuses of Popular Music, but unless he's got such an elaborate support system as does Wilson, I'm not particularly optimistic about any comeback. Cocaine, as Rick James so aptly put it, is a hell of a drug...

Yeah, maybe not the right forum, but definitely the right board! What's the deal with Sam Brown anyway? I've been trying to "get a handle" on him forover 30 years and still haven't been able to. Was he a jazzer who couldn't make up his mind? No disrespect, great player on a lot of classic sides, but I've yet to get a real sense of who he was, if you know what I mean. We can start another thread about this if you like. Just glad to hear that Eddie Diehl is alive and playing!

I think that MYH documents this type of organ jazz in a more purely "social" function than does Mazambique, which seems to have been performed in front of an audience with a little bit more "jazz saviness". Although, maybe not. Who knows what else the band played on that gig that didn't get recorded? Nevertheless, comparing the two is apples and, if not exactly oranges, then pears. Different functionalities at play, and the music shifts accordingly. Both are prime examples of what they represent, imo. I'd not go so far as to call Drives terrible, but I was underwhelmed on first hearing and remain so today. What's funny is that when I first started reading down beat (it was all lowercase then...), they were offering it as a premium for subscibing, quoting their 4.5, possibly even 5, star review of the side. I didn't get it (got Jimmy Heath's The Gap Sealer instead), but kept it in mind as something to look for. When I finally found somebody who had it, and I finally got to hear it, I was all like "BFD", ya' know?

http://thebadplus.typepad.com/dothemath/20...sa_records.html

Meditate on it.

I'd not overlook the Moacir Santos.

Rain Pryor Wally Post Chris Doering

We'll see...

Isadora Duncan Marie Antoinette Wayne Shorter

Mrs. Olson Josephine Madge

Well, no disrespect to the man personally, he came through Dallas a bit in the 70s for some reason (maybe when Ella was working the Fairmont, I don't know, I didn't have the money for that scene anyway) and frequently sat in with Marchel Ivery at The Recovery Room and he's a nice guy and all that, but.... And speaking of Marchel and the Bobby Durham 2 & 4 thing, I heard a little while back that a young drummer who was sitting in with Marchel starte doing that on something up, "Dahoud", I think, and that Marchel stopped playing, turned around, and said, "You're stabbing me in the back, man!" Right there in front of everybody! I guess that since Bobby Durham was a "peer", Marchel never did that to him. But the sins of the father were definitely visited upon the son!

Ok, I don't really "hate" Butch Miles, I just think of him as Buddy Rich wthout the soul and Sonny Payne without the organic swing. Other than that, beautiful player... And Bobby Durham I only really hate when he does that 2 & 4 snare rim thing on uptempo tunes. Which is more often than not... But Bob Buhl...