JSngry

No uvula!

I'm sure their outlook would change if they'd just listen to different music.

Glad to get the info on the Shaw/Sauter thing. Edie Sauter was BAAAD!

An old vinyl hound like yourself might already have it as Spanish Steps?

Start spreading the news!

I think that the appreciation of the music has frequently become overintellectualized in some quarters. I'm all for thoughtful and exploratory analysis, but only after you can spontaneously let out a good loud whoop (and I mean a GOOD whoop, not some corny ass approximation of what you think one ought to sund like) when the shit gets good to ya'. But that's just me.

Oh my! I'd never have guessed DeNiro, but the other guy I have no excuse for.

I really like what the tenor player does on the bridge. He probably didn't have a lot of options at his disposal, if you know what I mean, but he used what he did have very tastefully, musically, and soulfully. But that one-chord vamp over the A-Section is something defies description, being as it is at once so wrong and so right, so ignunt and so hip. It's a perfect example of why it's so damn dangerous to let real people record music!

We're in the key of Espress Yourself! Wow, that's pretty nutty.

AFAIC. Atlantis was/is all about the compositions, not the soloing and stuff. So it would make sense to hire folks who could play the parts the way Wayne wanted them played, with the practical consideration of learning the parts quickly,

She sounds like Phylis Diller! Now, all you guys who gets the boner with them gluvz n hahheels, think about this - no uvula!

I heard from somebody at the old Label M that there "existed" more tapes of Hank at the Left Bank, and that they were being "considered" for issue. Exactly what all that really meant, I don't know.

I remember when Pete started sharing his Trane boots with me. One of the first things he said was something like, "Thre's nothing really DIFFERENT here, it's just another chance to hear the same thing in a different way." For those of us who can't get enough of that type of thing, that's good enough. Really, though, I'm kind of dumbstruck about this discovery. I mean, really, HOW MUCH TRANE IS THERE? The guy only lived so long, only played so may hours, and surely it wasn't ALL recorded? Even if it was, you gotta tap out sometimes. But shit still keeps getting uncovered, in quantity, nearly 40 years later. The mind reels, and pun only partially intended.

The meaning of all this being a prime example, I must confess...

Same here. Perfection at every level, that one is.

You know the joke, eh?

Yeah, but the Punks were mostly white. That means that their angst was valid.

Who said there's not a problem? Not me. But blaming the music and/or the media is the same old "blame the messenger" game, which is, of course, good for opportuniosts and demagogues, but not much else. It's not like people are being forced to make, buy, and enjoy this stuff, and it's not like everybody who does buys wholesale into the "lifestyle". Far from it. For plenty of people, it's just a soundtrack for the moment and not too much more. But for those who do buy into it to any degree, you gotta ask why they do it? It must meet some kind of a need that's not being met otherwise. And what that need is, why it exists, and why it's not being met otherwise is a lot more pertinent than blaming the media and the music for creating social decay. The music and the media ain't created nothing,m they merely capitalize on a pre-existing opportunity. When "the people" feel the need for romance and hope over hedonism and nihilism, they'll buy that kind of music in quantity. It is being made. Until then, jazz causes sex crimes, and rock-and-roll causes juvenile delinquency. The music creates the behavior out of nothing rather than the behavior latching on to a partial element of the music. Of course.

This notion of a "free pass" is yours, not mine. I merely suggest evaluating the situation objectively, and with a historical/social perspective that extends beyond the last 15 or so years, and which extends beyond a specific age/racial demographic. It's tough, I know, but failure to do so results in a lot of hot air, which in the present climate, is not necessarily good for the ozone layer.

I think you're only saying the same thing I'm saying from a musical perspective. I say black culture used to get played out in a much more stable and encompasssing social context, you point out the fact that this is the first black music not to partake of church music. Sounds like a two sides of the same story to me. Well, ok, but "sociological" and "musical" mean two different things to me. And to that end, I'd suggest that it's not jsut "black culture" that's getting "played out in a much more stable and encompasssing social context". Far from it. You think that all the debilitatingly whiny and/or screaming white rock bands are stemming from a "healthy" environment? I think not!

And in fairness to Rouse, I think that most of his best work with Monk wasn't issued at the time. The various live Columbia dates like the It Club set spring to mind. I had already formed a pretty negative opinion of him by the time those things started coming out. The Columbia studio sides that were contemporaneously released seemed to feature him droning on, playing the same licks over and over (in particular, the Columbia Straight, No Chaser album, as origianlly released, is the one Monk quartet album that I still can't listen to without getting bored and or pissed off), whereas the live stuff released later show him in more open form. There are indeed gems to be found amongst the, uh.... non-gems. Funny, though, he got off to such an exiting start. His work on 5 By Monk By 5 is really hip.

Two more Kloss items: To Hear Is To See - recording by Danforth Griffiths Consciousness - recording by Paul Goodman (RCA) Two other items: Pat Martino - Strings - recording by Richard Alderson (and liner notes by Mark Gardner, in what must be the smallest typ I've ever seen. And even at that, it fills up the entire back cover!) Don Patterson - Soul Happening! - recording by Van Gelder The first three are all Schlitten-produced, while the last is a Cal Lampley job. Does it seems that Schlitten is responsible for most of the non-Van Gelder sessions? And if so, is there a reason why he avoided Rudy? Or was he banned for some reason?

Jimmy Forrest had a good stint w/the band. For me, when I buy a Basie side, I look to see if it's gonna have either Pres or Jaws. If it does, I'm in.

I don't know about "ultimate" as long as Mark Murphy's still alive, but the future of the reign is in good hands...

Huh? ← Well, yeah, it's like, if you make some new money, you make some new money. I don't understand the concept of "making all the money you're going to make".