JSngry

Cecil Taylor. The interview portions could easily pass as parody.

Pebbles Flintstone Linus Pauling Jane Pauley

Whitte, iirc.

John Handy Herbie Mann Tim "The Tool Man" Taylor

http://www.musicaconcarne.com/rant_ken_pat.html#

Just to clarify, it wasn't me who started that ol' crazy Asian war. But, yes, it's true - I shot a man in Reno just to watch him die. No regrets.

Sebastian Cabot John Sebastian Willie Dixon

Tom Jones Poll-Parrot Tod Irzyck

I'm biased when it comes to '60s Newk. Loved the 2nd album as well as the 1st. Yep.

It was listed on the LP label and insert sheet as the last song on Side One, following "Africa Talks to You "The Asphalt Jungle"". But there's no song. I always took it as a conceptual thing, saying that there's no time left, timber, all fall down, watch out, etc..

Yes, & Essra Mohawk was/is actually Sandy Hurvitz, whose Verve album Sandy's Album Is Here At Last was produced by Ian Underwood and featured Jeremy Steig, Jim Pepper, Eddie Gomex, & Donald MacDonald. You'd think that with a lineup like that it would be really good, but it's not. At least I didn't care for it in 1971, when I found it in a Woolco cutout bin in Mobile, Alabama, next to the Ramada Inn our high school band was staying at on the way home from a trip to Pensacola, Florida. Of course, the Ramada's lobby "hi-fi" was an old console piece of furniture type thing with a tone arm that probably had a 5 lb. tracking force and a needle that hadn't been changed since 1961, but even at that, I didn't dig the side. So no, Suzy Creamcheese and Sandy are not the same. But both are pieces of Zappa lore nonetheless. I welcome Suzy, and wonder how she came to know the Captain

Judge Parker Sam Driver Neddy

The Cd or your third eye?

Rhino Handmade's got a Complete WB set: http://www.allmusic.com/cg/amg.dll?p=amg&t...10:mze997bskrdt Yeah, Sly was the shit.

Sandy's album is here at last.

Paul Bunyan Damon Runyon Pearl Onion

I've yet to meet a tired standard that Darlene Edwards couldn't revitalize.

Sirhan Sirhan Mandrake The Magician Guy Laffite

Joe used an old Selmer hard rubber, the "short" one (they later lengthned the shank and screwed it all up).Think it was a D*, a little more open than what would be considered a "classical" setup, but still more closed than most modern jazz players use. Not sure, but I think he might also of had the bore opened up just a little bit for a more open low end. As for Lovano, I think he's a fine player. I hear him as a cross between Joe & Dewey, although he continues to carve his own niche, little by little. Like Chuck, I don't connect with too much of his stuff. But I give the guy highest props - he's a helluva player, and he tells no lies. More than that, what can you reasonably expect and/or ask for?

Ok, I'm surfing the dial and hear that damn NaNaNaNaHeyHeyGoodbye song for the umpteenjillionth time, and, as always, listen with the usual perversely morbid glee at the drumming. It's not so wack on the first chorus, but on the second, the cat just goes nuts, playing fills where no fill has ever been played before. And not jsut any fills, mind you, but the worst garage band type fillage imaginable. You can go years without noticing it, but once you do, you'll be forever hooked by the sheer naive wrongness of it all, as well as the desperate attempts to mask it by incessant, mixed to the fore tamborinage. But I digress... I've been wanting to find out just who that poor sap was, this drummer whose joyous spirit valiantly conquered any and all attempts by good taste and borderline professional musical standards to stifle his moment of glory. And where better to go that AMG? (a rhetorical question, to be sure...). Well, I still don't know who this drummer was, but what I found out about the saga of this song, and the group under whose name it was issued, is a veritable Classic Of American Music Business Legend. Truly, i stand in awe. AMG on Steam Proof yet again that you can't win if you don't play, and that even if you do win, you can still lose more than if you didn't. Gotta love Show Biz!

Ali Baba Baba Wahwah Clyde McCoy

Wally Cox Charles Mingus Wally Cirillo

Perhaps, but what I heard our of Carothers on those two sides was a total lack of subtlety and a false sense of "freedom". Her rhythmic feel was plodding and banging, her lines were random to a point far past careless, and her choice of chords seemed to have as its only logic the principle that all notes work at any time, which they do, but only if you have a grander design in mind. I didn't hear one out of her. All I heard was piano that was played with a sense of "I dare you to call this wrong!" Well, ok. I'm calling it wrong, and I'm calling it a wreckless degeneration of the whole Tristano concept. Popkin noodled along nicely as if nothing was happening behind him, and you can take that any way you want... If y'all say that Connie Carothers has done some interesting work elsewhere, fair enough. But I would hope that it's not the same type of music I heard on Jazz Spring & In Motion. They almost sound like a cruel, clueless parody of a great, great wellspring of modern music. Yeah, I most definitely had a reaction to it. then again, maybe I was just in a bad mood. Been happening a lot lately. But this stuff sure didn't make it any better...