JSngry

Henry Threadgill

Yeah, can you imagine killing your wife, beating the rap, and then seeing her walking down the street a few months later? What would you do? Kill her again due to a no-doubt legit case of temporary insanity? And what if you didn't beat the rap the second time? Hard time, thanks to a medical science and a bitch from whom there was no escape. I ask you ladies and gentlemen - is that justice?

Thus the ongoing Japanese concern over losing face...

http://www.hip-o-select.com/catalogue_nordine.asp It's about time. Carpe diem!

The Lennon Sisters The Treniers Von Freeman

I was just in Houston last night for a gig. Had I known...

Maxwell Davis was a key figure in the L.A. R&B scene of the 1950s as tenorist, arranger, and producer. He also led a series of big band "tribute" albums for Crown. Crown, like Kent, was a Bihari brothers label. The Biahri brothers' story is an integral part of the Los Angeles R&B (and jazz, to a lesser extent) of the 1940s and 1950s, and their labels (Modern, RPM. Kent, & Crown) were significant. Jewel Grant was an alto player who played on a lot of L.A.-base R&B sides that Davis was involved in, but he also had jazz chops, and made some recordings (mostly as a section player) in that idiom. Ray Linn was a veteran trumpeter who played with, a.o., Tommy Dorsey & Woody Herman. He was an early convert to bebop, but eventually became a studio player and eventually shifted back to a more traditional approach. Gene Estes was/is one of L.A.'s leading studio percussionists. Credits too long to mention, but he was part of "The Wrecking Crew" that virtually created and defined 1960s California Pop.

Scott gigged w/Lester Young and also wrote the arrangements for "Interesting" does indeed seem to be an apt word to describe his life and career.

Dick Stuart Rod Stewart Jimmy Johnson

I've since heard more of the album, and would like to withdraw this criticism.

I don't think that reversion to any particular "style" would make a difference. "Melody" is an esthetic, not a technique. Hell, Braxton & Ayler are all highly melodic players. So's Cecil. Ornette, goes w/o saying. Interetellar Space? Hey, that sings like a bird. The "problem" is not in the methodology, it's in the application, and that, like pretty much everythiing else, comes down to individual perspectives and sensibilities. Not the type of music but the type of musician. Style is just the delivery truck. The merchandise inside's the same no matter what.

Yep. With a memorable appearance by Warne Marsh.

Joey Ramone Phil Ramone Phil Spector

Jack Daniels Ezra Brooks George Dickel

Mark Twain Amos Trice John Forsythe

Two Maynard Ferguson albums. One or two Clark Terry albums. Maybe a few otehr jazz things.

Here's a thought - how many players today can play a melody, as opposed to playing a head? Any piece, any piece, can be approached either way. And think about it - are there any "standards", jazz originals, show tunes, whatever, that people don't know the melody to? I think there's a general loss of interest in melody. The mathematics of harmony, characteristic rhythms and readily identifiable yet generalized tonal pallates per se have taken precedence, which is all well and good, but if all audiences want is a beat and/or energy and/or a certain "sound, and if all players are interested in is a good set of changes to blow on and/or a good groove to do it over and/or a certain "sound to do it with, is it any wonder that the same old same old keeps getting trotted out? After all, a ii-V is a ii-V, and if you're going to alter it every which way any way, what difference does it make what order they come in? And if everybody is looking for that good groove, what difference does it make waht you put on top of it? And if everybody's looking for certain sets of timbral qualities, what difference does it make what they're in the service of? Most players today don't sing (metaphorically), they play instruments. It's the difference between specific, personalized interaction and the operation of a machine for general public use. One thing I've noticed - players who have an appreciation of pure melody tend to have a braoder repertoire than those who don't. And those who have a broad repertoire seem to have a better appreciation of melody than those who don't. Not sure what, if anything, all this means, but hey.

And propers never quate.

Sharon Jones Ariel Sharon Dean Friedman

Drive-through drive-bys?

Boomer Esiason Pop Warner Crash Craddock [EDIT - Null this one out, because PQ scooped me. But I'm leaving it on record because I like the "three sounds" connection )

Harry Reems Harry Reasoner Harry Lim

Norris Jones. Seriously, I've I've always heard cy-RONE.

Abraham Martin John