JSngry

Well now, my son ain't exactly micro-cranial his ownself neither...

"a surprise"? Hmmmm.... Just hope it doesn't involve ransom. The shape he left his room in, I don't know that I'd be too eager to pay right now...

So there's a Sonny trio date in there as well?

Cool, Mark! I got my days slightly crossed - he gets there today, but won't start working until tomorrow. And remember, try to buy some stuff that's NOT on sale.

Short answer, since I'm almost late for work - yes, I do think that the distance of time makes a difference. The bigger the distance, the bigger the difference as well, usually. Once a cat's dead, well, that instantly creates a different dynamic in terms of perception and such. I'm speaking non-monetarily, btw.

Oh yeah - Charlie will be working in the software department. He says to ask y'all to buy some stuff that's NOT on sale.

Yeah, my 18 year old son has been selected as one of the "experienced" Fry's staff to assist with the opening of the new store in Fishers, Indiana. He'll be there this Thursday through next Tuesday, Stop in and buy some stuff, meet the boy, and let him know he's got the eyes of a village watching him.

I just assumed you were black.

Sweet! Chuck, are you at liberty to divulge your source of this information?

Fair enough, but I stand behind my enthusiasm for LIVING TIME, as well as the caveats about the crappy recording. From Russell's end, it's more in line with his late 60s/very early 70s work than it is those later things to which you refer. As for Evans' own contributions, while it would be exaggerating to say that any pianist could've taken his place, it's not one to say that the piano playing is not the major focus of the piece. In other words, worth the effort to hear through the mud, if the listenere is so inclined to put it forth; has a liking for the basci concept(s) in the first place; and is not expecting a reprise of earlier Evans/Russell triumphs.

Would that be Cap'n Crusty Sumsuch?

What about the probelms Tom Delay's having?

It's not the medium, that bugs me, not at all. It's the application thereof. A little propriety is called for, and I don't think that hanging somebody else's schlong out the window for anybody and everybody who walks by to suck on as little or as much as they desire exactly qualifies as such.

Actually, the term "inside/outside" might be fallacious. at least in some respects. There's probably some Fundamental Law Of Physics that dictates that Nature abhors a vaccum, and that once a new "outsice" is discovered, it's all but inevitable that the "inside" will sooner or later come to it to one degree or another as a matter of basic inevitablity. In other words, the window for being truly "outside" is a relatively small one, and once it's closed, that's it. After that, it's all "inside", no matter how long it takes to be percieved as such.

Yeah, the "traders" who gloat and hoard and who won't share w/o getting such&such in return are pretty much pigs. Usually, not always. But that's not what I'm talking about. There's a reason why most artists (and their labels) don't record and release everything they do, and it's not just economics. It's a matter of "presentation", of offering up a "vision", if you will. An "official" recording is usually an attempt by an artist to present, to the best of their ability, the truest portrait of said vision. The rest, the outtakes, aborted/unsuccessful sessions, live dates, etc. are definitely of interest often enough, but it could easily be argued that their "purest" interest should be to "deep" fans, scholars, etc., and that such material really was/is not intended to be heard by anybody else. An artist's vison is their most personal possession. To deny that in effect puts the artist in the positon of a slave. It denies them the intrinic/assumed right to posess anything personal, as well as the control over how their most personal impulses should be presented. In effect, it gives the "fan" the position of being able to say, "We OWN you. Give us everything you have, whether you want us to have it or not". Of course, the aptness of this will vary widely depending on the artist in question, the nature of the performance, and who's wanting to hear it and why. Which is why I personally think that the private/personal distribution system is more in keeping with a show of respect for the material involved. Yes, you DO have to work harder to get a hookup, and no, you WON'T be able to get anything you want anytime you want it. Oh well. But... There's something to be said, I think for "earning" the "right" to hear such material. It teaches you an appreciation for both the material and the processes of creation and performance. It also means that you have to deal with people rather than computers. Basically, it forces you to deal with the music, and the individuals who inhabit/surround it, as people, and not just a set of digital data to be bandied about like so many subway tokens. The very nature of this type of material places it in the realm of "special", and I truly believe that it's dissemenation should do the same. I'm certainly not accusing anybody in this forum of being the type of person who "knows the cost of everything, but the value of nothing" (FAR from it!), but the easy, open, and public distribution of unofficial recordings can't help but breed that type at a rate far greater than a more selective/restrictive one. This music in general is viewed cheaply enough as it is. Do we really want to expedite and encourage that any more than what already exists? I'm in no way advocating the hoarding of private recordings, nor of not using the Internet per se to distribute them. I just think that such a process should be kept as private as possible out of respect for all concerned.

Well, call me crusty and wipe me with a moist towelette, but I do see a difference between collectors trading such material as this privately and providing it "publicly" online. Maybe it's just a difference "in principal", and maybe its a moot point anymore, what with the Instanet and all, but I see a difference nevertheless. Several differences, actually... Not that I'm above availing myself of certain "opportunities" when they present themselves (haven't yet figured out how to do the bit-torrent thing, though), but when said opportunities are removed, I can't say that I'm surprised and/or disappointed either. Contrary to the promises of the Utopianet, "we're" not "entitled" to have whatever we want whenever we want it, and not everybody "needs" such material to an equal extent. Call me an elitist or some such, but that's how I feel.

http://www.iporecordings.com/My_Homepage_Files/Page9.html Michael Patterson - Arranger, Producer Jimmy Owens - Trumpet, Flugelhorn James Moody - Tenor, Soprano Benny Golson - Tenor Frank Wess - Flute, Alto, Tenor Bob Brookmeyer - Valve Trombone Hank Jones - Piano Sir Roland Hanna - Piano (taped excerpt) Richard Davis - Bass Mickey Roker Drums 1 Subtle Rebuttal 5:37 2 Thad's Pad 4:53 3 Kids Are Pretty People 6:40 4 One More 5:49 5 Mean What You Say 7:05 6 A Child Is Born 8:02 7 Bossa Nova Ova 5:12 8 The Waltz You Swang for Me 7:02 9 H and T Blues 5:37 10 Consummation 5:23 11 The Farewell 5:26 12 Monk's Mood All I can say is that the playing and the tunes are all you'd hope for. Lions (and near-lions) in winter, perhaps, but if this be winter, let it snow.

YEAH!!!!

I'll differ on both albums. LIVING TIME's main problem is poor recording, not bad music. It's really more a Russell album than an Evans one, and is probably best appreciated/evaluated in that way. As such, once/if you're able to hear through the mud, there's actually some very raw and exciting writing and playing going on. SYMBIOSIS starts very strongly, and then loses steam as it goes along, but it's hardly "bad" by any stretch of the imagination. Myself, I'd rather hear Evans do something like these albums than yet another trio session.

Although I have a very high level of respect for Elley Eskelin's abilities as a saxophonist and creative improvisor, I've never really though of him as being an "inside" player, that tribute to Jug thing he did a while back notwithstanding. Although, with him, it's obviously a matter of choice. The cat can definitely play his instrument. However, this past weekend I got to hear an album by drummer Tony Martucci that had a front line of Eskelin & Joe Lovano. The material itself was sorta "inside/outside" - a Monk tune, a Sam Rivers thing, and some originals that had various degrees of repetitive structure & preset changes built in to them. Eskelin nailed the inside stuff, and, of course, excelled on the freer things. So I'd definitely add him to this list.

So, this puts us closer to the actual 1957 Five Spot quartet than any known recording, right? A few months earlier, we'd have Wilbur Ware on bass, and wouldn't that be special! I'd think that in a right world, this would be major news...

DOH! Of course! My bad. Add another one to the list!

They's gators in Arizona, doncha' know.

and those were all from the late 1950s as well, right? http://www.bsnpubs.com/latin/seecorelated.html Yep.