JSngry

Jeremy Irons Lex Steele Ron Silver

And that's fine. Tips in club settings are entirely optional (and entirely for "local" bands - if you saw, say, McCoy Tyner in a club, you'd not tip the band) , and usally come when a customer is "reached" by the music to a more-than-normal degree, and/or if "special" requests are made. But if you just have a good time from afar, no expectations are in place, none whatsoever (although most club dates pay such that a little sumpin-sumpin certainly don't hurt anybody, if you know what I mean...) But if you do tip, make it something useful, or at least something not insulting.

Kenny Drew, NHOP, & Albert Heath.

That blew up good.

The competition...

Bet he was on vacation. From Dallas.

I had to bail a band I was touring with out of jail in Salinas.

Truthfully, every one I've heard has had much to offer. I've not catalogued those that I have (and relative to what I understand is out there, I have but a handful) by date or location, so I can't tell you what's what, just that if you have a chance to get some, carpe diem. The difference between family and business associates?

Am I missing something? Aren't these going to be regular retail reissues?

For the same reason that guys hesitate to come out of a really cold swimming pool?

Saving that for the "What's Your Favorite Bean?" poll.... (all puns intentional)

Gene Quill Leonard Feather Hugh Downs

http://www.stripes.com/article.asp?section...18&archive=true

Yeah, if you're talking truly private recordings as opposed to grey-market issues, that's a whole 'nother thing...

It's always fun playing, and Greg busted his ass putting this thing together. But apparently asking people to pay $25 to hear what they usually get for nothing (or next to it) is just too much of an imposition (even if the money is earmarked for a more-than-worthy cause), especially when the competition is the NFL and mild weather (both of which I'm a big fan of, btw). There's a few brave souls (less than eight, I'd guess) who xontinue to support live creative music in Dallas on an ongoing basis (the O-Board's Joe & Rod are among them, and Big Al does pretty good for a family man from the mid-cities ). But really, this town is for all intents and purposes dead. D-E-A-D DEAD. The fact that the musicians of the area aren't (yet) is a testament to either our indefatigable spirit or our obtuse stupidity. Still trying to figure out which it is...

If that's the same Mark Gilbert that wrote all those "barbarinas at the gate" liner essays for Prestige back in the late-60s/early 70s, his opinion of this music neither surprises nor interests me. He's wonderful when writing about music that is within his niche, but this music ain't in that niche, not even slightly...

I remember these ads in the back of comic books, yet I have never seen a copy of Grit, nor do I know anyone who has! I saw 'em in the back of comic books too, and I've never seen a copy of Grit either! Maybe it was a front for child slave labor. In the small town where I grew up, there was a newsstand that actually sold Grit for a while. I bought a few copies, just to check out what all the comic book ads were talking about. Seemed to be a weekly newspaper for people who found Reader's Digest too cynical...

To whom it may concern - "Dallas Jazz Community" is an oxymoron. With the emphasis on moron.... Signed, Bitter Bastard, Seeker Of Lost Causes

Heck yeah. Even with tape hiss and lower high-end, it's still analog, and that ain't nuthin' to sneeze at...

There's a thing on Jazz Door from a 1993 gig called Just Once that is well worth seeking out.

Can't say that I find this unlistenable, but I too was disappointed when it first came out, and have yet to really warm to this collection. Problem is, I think, that only two charts are by Gil, and it seems as if most of the album was made w/o him really having too much direct influence on the music. Still haven't heard the CD version though, so maybe that's a different animal. Evans' next RCA album, There Comes A Time, was/is another matter entirely. To me, that's a great album, and an even greater CD. Whereas the Hendrix album seems mostly loud and unsubtle, monochromatic, even, TCAT is a multi-textured work of electronic/accoustic beauty, with a depth of detail that has continually rewarded years of close and repeated listening. It kinda sunk upon initial release (perhaps the much better hyped Hendrix side failed to meet anybody's expectations, and the followup was doomed to be ignored?), but it's by far the better album imo. I'd go so far as to call it a genuine masterpiece, especially in the expanded CD form. So much color.... Gil's conversion to/immersion in electronics was/still is a matter of no small contention, and has been vigorously discussed/debated over the years. If I were looking for ammo, I think I might pick the Hendrix album as an exhibit for the prosecution, and There Comes A Time as one for the defense.

Denmark, 1968, bar none. "twas released on two Moon CDs.

King Solomon Solomon Burke John Birks Gillespie