JSngry

Well shit...

Meaning that when she gets pissed at you she threatens to burn you at the stake? Got news for you - that's not just a New England thing!

I was under the impression that the SEVEN STEPS box was released w/o the metal spine, that that type of packaging had been discontinued on any further boxes from henceforth. That was the offical word last year wasn't it? Apparently somebody changed their mind! I've not yet looked at the set, but if it is indeed metal spine, I might as well get it now. A silly fetish, to be sure, but hey...

I don't think there was such a critter...

THAT'S the spiritual!

Somebuddy needs to lecturize him on proper grammaticals and vocabularities!

I don't know what's worse - that I unfairly castigated the city for not getting him here, or that they GOT him here and didn't tell anybody... That damn Sammons - every time they present a series of local light-to-middleweights (w/the occasional Marchel/Boykin/etc presentation thrown in for legitimacy), they hype the shit out of it. Last year, they brought Houston Person in, and no hype. This year it's Sparkplug, and again, no hype. It's like they don't want too many people to hear shit that puts their regular blasé fare into its proper perspective. If I could kill people without actually hurting them, it would be the fuckheads who pull shit like this.

On freakin' RPM!!!!

...you gotta love the type of mind that would assemble this type of thing... http://www.dustygroove.com/varfunklp2.htm#380895 Various -- Sitar Beat Vol 3 -- Indian Style Heavy Funk . . . LP . . . $7.99 List Price: $8.99 (Item: 380895) Guerilla Reissues, 1970s Condition: New Copy View Cart The onslaught of Sitar Funk continues -- with 5 exellent bits of funky Indian, all served up in one totally smashing vinyl EP! The grooves here are very much in the best brownsploitation mode -- mixing together sitar-heavy instrumentation with some deeper, more American styled funky backings -- and a few of the cuts on the album are edits from longer numbers, keeping a focus on the best funky sides of the tunes! Titles include "Dharmatma Theme Music" by Kalyanji Anandji, "Sa Re Ga Machan" by Ananda Shankhar, "Hotel Incidental Music" by Usha Khanna, "Theme From Don" by Kalyanji Anandji, and "Su O Dilruba Dil Ki Yeh Seda" by Annu Malik. The onslaught of Sitar Funk continues? I never knew it had begun. Guess I'm even further out of the loop than I had already imagined...

The first recording of "By The Time I Get To Phoenix" was done by Johnny Rivers, on his 1966 album Changes. Or that.... Rivers' 1967 album Rewind was arranged by Webb, and featured eight Webb originals. Who knew?

Wellsir, on the one hand, this thread http://www.organissimo.org/forum/index.php?showtopic=19273 beat you to it by a day. On the other hand, that thread does not have this little gem: So, hey, ket's keep discussualizing this topic on both threads!

well, leave it up to the indie-rock obsessed Dallas Texas music business to TOTALLY freakin' uneffortize to get that goddamn MELVIN SPARKS into town on any night.

In the words of the prophets Mickey & Sylvia, "Love is strange." This I do believe.

Did not know that. Thanks for the heads-up.

Yeah, I reckon I do!

Maybe it's not relevant to thier lifestyle?

I have played clarinet. Obtaining proficiency on the instrument was required of me as a saxophone-playing Music Education major. Same with flute. But both instruments require a serious and seperate discipline to play well, and since I had/have no interest in pursuing the type of musical work where proficiency in doubling is beneficial, and since neither of those instruments "speaks" to me on a personal level, I leave 'em alone, and have for several decades now. I do play alto and soprano as the mood/need arises, but even they are different creatures than the tenor, and I figure that struggling with one voice is enough for one lifetime! I do have a tremendous amount of respect (and depending on who it is, admiration) for those people who can double proficiently (or better). But it's just not how I'm "wired".

I second that emotion. But I don't feel like giving you a lifetime of devotion. Sorry, nothing personal.

Why? Whose needs does that fulfill?

Well, all I can say is that there's a huge difference between being a jazz musician and being a professional jazz musician. That "p-word" has the potential, often delivered, of messing a lot of things up, and at some pretty basic levels. It's a dilemma, no doubt, and Rollins seems, to me, to have found a method that lets him have it both ways - a good, solid career and a preservation of the love for "pure" music that he no doubt feels deeper than the need for any "career moves" (when Pete & I saw him on CNN after the 9/11 attacks, this old guy who made sure that if he didn't have anything else with him, he still had his tenor, we both just laughed out loud). It may or may not be right to say that Sonny's kost (or probably more accurately, gone through periods of losing) the enthusiasm for the "professional" aspects of being a jazz musician. But good lord, I don't see any way that anybody can say that he's lost the love of playing the music. There's a huge difference between the two, and one should not confuse them.

They fulfilled their obligation when you paid for the books. Whatever happens after you open them is entirely on you.

Has Dave Marsh heard about this?

Didn't some of the flights even have a pianist in the lounge?

Makes sense to me, but not everybody responds positively to this type of "impressionistic" anaylsis. There was a similar (and heated) discussion along the same lines about Larry Kart's book here recently. I share most of Mr. Kart's & Mr. Litweiller's reactions to the music they discuss, so it's not a problem for me personally to "get" what they mean. But everybody's different, and not even everybody who digs the stuff is going to her/feel it the way they do. And so it goes. All I can say is listen to the music in question long enough to get really familiar with it, and then see if your impressions/reactions match up in any way, shape, or form, to Mr. Litweiller's. If they do, great. If they don't, hey, that's great too. At least he got you to listen to, and to seriously think about and feel something about, the music!

Just discovering Wiley myself, and haven't heard any of the studio sides yet. But there's an Uptown cd of braodcasts from 1951-52 that is certainly fine, and has whet the appetite for more. As for Connor, I'm not a fan myself, so maybe my affection for the Atlantic album she did w/Maynard's band (NOT the Roulette one!) is not shared by those who are. But I think it's a wonderful album - great charts (two of Willie Maiden's finest ever are included), everybody swings freely and exuberantly, and Maynard's high notes are in service to the music. It's the one Connor album I've found entirely to my liking, and not just because the charts and band are so good - I like her singing here, too. Reissued by Collector's Choice, and should be easily available though mail-order/online outlets: Haven't yet heard the CD, but the original LP was splendidly recorded.