JSngry

Believe me, it's very common, and so is the name of the girl being on the ass.

Face it dude, we're OLD now!

Under noraml circumstances, this is Universal Musician Sign Language to tell the sound technician that one is not able to hear one's self the way that oine would like to, and could you, misterormissus soundperson, please remedy the situation by brining me up in the monitor mix. Please. This is inevitably followed by an intricate pantomime on the part of the sound technician in which the brow is furrowed, furious knob turning/slider adjustments appear to be made, a series yearning and sincere looks are thrown to the bandstand, and everything stays exactly like it was.

Word. Yeah, like you guys would run away if the opportunity presented itself. Puh-LEE-se!

"borrowed"?

On #10, I'd just like to add that although the organist is swell, the guitarist is even more sweller.

Yeah, I sure gotta work on getting that 20 mil...

Yeah, it could be. And if I had a 14" dick and $20 million, I could fuck Jennifer Lopez.

Liners to LOVE BUG say that Manning was from Houston. No mention of him anywhere here: http://www.jazzhouston.com/ But they do have a forum: http://www.jazzhouston.com/forum/ at which I was able to register but not post. Might be a cookie issue. I also got a buddy or two who're tight w/some of the older players in Houston. Lemme give tehm a call and see if they can make a call and maybe get some more info. No promises, but...

urp

That sucks. To put it mildly, and perhaps callously (unintentionally)...

Yes I do. Him & Harold Alexander on UNDERSTANDING (and the other, later Patton), they paved a Brave New World in their own ways.

50 years? Oh man...

If the "somebody" who picked it up is an honest soul, a good Lost & Found campaign (w/reward of course!) might very well retrieve it for you.

He was from Houston, like Sparkplug, right?

That is a point with which I would be hard-pressed to disagree!

Never heard of Yavnai before, but a friend's generosity in hipping me to some Garzone included this very nice release. Sorta "modern conservative/progressive", ie - the influences are late-60s Miles, early ECM, a dash of M-Base (but accoustic), the occasional "ethnic" touch, etc. As such, there's nothing here that screams out FUTURE OF JAZZ or anything, but the playing is passionate and thoughtful. And Garzone is a bitchandahalf whenever he plays. Also aboard are Dino Govoni & Avishai Cohen, two names I already knew, and some other cats I've never heard of. No slouches either way. I'd think that some of the community would enjoy this release quite a bit, actually, whereas other might find it either too far out or far too timid. Such are the perils of the in-between. Oh well. As Myron Cohen said, "Everybody's gotta be somewhere." Check it out here: http://whalingcitysound.com/wcs006.htm And here's Mr. Yavnai's own site: http://www.alonyavnai.com/

Dude, that's a bummer. But it's gotta be somewhere.

My first tasteless response was McDonalds.

YOW! We kinda got off the TCM trip what w/vacation and all, but another Sturges film will get us back on it quite quickly. Thanks for the heads-up!

As "BLUE NOTE JAZZ", the Cox dates are indeed 2nd-tier. As documents of a specific musical time and place, though, they are indeed quite nice, so yeah, give'em to Water, buy'em when they come out, and enjoy some perfectly fine music brought to you through the courtesy of love.

I don't want to believe that, but I'm somehow having a hard time not...

You could post any damn thing you wanted to!

Oh no, definitely not. It just goes to show how "free" Prez really was, both explicitly (on occasion) and implicitly (always!). So much "free jazz" (certain types, anyway) can be traced right back to Lester Young's spirit. I've not noticed that Bird thing you mention, either. will have to check it out sometimes.

It sounds to me like the basic tracks were cut live with the group, with the additional layering done later. For some things, yeah, the cuts were probably recorded in sections, but there's not anything I can think of offhand that couldn't have been cut live as far as the basic stuff goes. Which is why I want to hear FLOOD, to hear how they approached that stuff live.