JSngry

JSDHGRY doesn't have a clue what the fuck Brother Affron is talking about.

We all love maren!

Hard to argue with that!

http://www.organissimo.org/forum/index.php?showtopic=16984 0 replies & only 49 views in 8 days. I'd say the genre has plenty of room for growth!

Please, help us develop. We're looking to go public in a year, and want the IPO to go for as high as possible so we can cash out and retire. You have posted the most. I doubt there is much I can tell you. I am a simple guy, just enjoying a chat or two with people that have the same interests as me. Jokes about sex, swearing etc do not work for me. Che. Sorry, dude, don't mean to be an asshole, even though it comes naturally much of the time, frequently unintentionally (I assure you). But surely you can see the, uh, "naivete" of somebody walking into an already existing community and wanting everything/everybody to change, seemingly just for their behalf. The term here is "mutual respect". In the American workplace, that has come to mean that if a new employee walks into an environment and is offended by a long-standing "group culture", that they have a right to complain and get changes made, no matter how innocuous the perceived offense may be, no matter how long-standing and tightly-knit the existing culture may be, and no matter how inclusive said culture has proven to be in terms of who is/isn't accepted (truly accepted)over time. That's certainly not "mutual respect" in my book, that's one person who may or may not have a complex using policy to exert their will over many. The possibility of respecting a pre-existing culture and trying to work within its framework is apparently obsolete, as is the notion of getting to be one of the group instead of trying to get the group to be one of you. Fortunately, this is not the American workplace. This is a jazz bulletin board.

Please, help us develop. We're looking to go public in a year, and want the IPO to go for as high as possible so we can cash out and retire.

Hooked on wank!

Not sure Tony is those in the States would know what a wanker is I am from Rochdale and so I have every idea Che. Must be one of those post crushers, who try and get to a 1000 posts by March So how about you say what you want in one post? Che. No. He talks like that when he's having a quick lamb shank. Hey in Rochdale we call it a 'Ham Shank' Here in Texas, we call it being a Ham Wanker.

No.

Is the date on this correct? April?

George Braith & Freddie Roach.

Doris Green could PLAY!

So, was he related to Willie Dennis?

"Work" & ""Introspection". For now...

HA!

If there had been no jazz, there would be no Oldies!

I think the focus of this music is to just get a good party vibe going. For somebody of Roy's age and background, that almost has to include hip-hop & R&B vibes. I mean, he was 16 in 1985. I really don't think that when he was hanging out with his homies that they were all groovin' on Kenny Dorham, ya' know? Maybe in SCHOOL or at home while practicing, but not on the corner after school and after practicing. In Dallas, he'd have been a LONELY young man if he had done that! That's what I mean about younger people playing their own music, not their father's (or even their grandfather's!). Play what you know, play what you live, don't just play waht you learn. If that involves electricity, funk, and rappers, hey, so be it. It don't bother me any, not as long as the intellegence stays in it, not as long as the musicianship is good, and not as long as the grooves are real, and not pseudo.

I burnt the set into strict chronological/session order (5 discs to keep from having split sessions) and have been listening that way. By far and away the 10-31-67 session is the sloppiest, the raggediest, the least fulfilling. Sounds like nobody had half a clue about what was going on in terms of the tunes. Maybe not even Andrew. DEFINITELY not Herbie Lewis. Some strong solos, but even most of them sound like the cats just said "fuck it" and BLEW, if you know what I mean. As close to a Train Wreck as Cuscuna is ever liable to let out of the vaults, I'm guessing. The rest, though, is a marvellously intriguing collection of sessions that are not without problems. But most of the problems are relatively minor - strained ensembles here, botched solo entrances there, occasional moments of unfocus from the rhythm section, etc. At the time, that might have been a big deal as far as BN releasing any of this stuff, but today, more than 30 years later, hey, it's history now, so big whoop. I can see why Teddy Robinson didn't stick around. He's a very "light" drummer, and not as rhytmically interactive as somebody like Joe Chambers, who was constantly engaging in rhythmic dialogues w/Hill. But Robinson has a great ear, and his textural shadings work really well on the first two 1967 sessions, where Hill seems to be more interested in exploring space and texture than anything else. Robinson almost seems to be under the spell of Sunny Murray in spots, and to my ears, it works. Especially on the trio session. Whoo-eee! Speaking of space, that first 1967 session sounds like everybody was tripping or soething! Cats go on and off mike, like they're bobbing and weaving whilst under the influence, and the energy is very psychedelic, almost Ra-like (same thing on the trio stuff - VERY open-ended, yet melodically coherent). And that organ! WOW!!! Reissue of the year, afaic, even if it's not a reissue.

AMG shows that Willie Dennis was also from Philly. Any relation? Both played w/Mingus, so maybe?

Sounds like admirable work. Went through some PTSD fallout w/one of my kids 7-8 years ago, and could have really used more/better information than was available at the time. Hope you do well.

Maybe we have a language barrier here, so help me out, please. What do you mean that you "felt it was trying to do too much for me"? Serious question.

I have the STRENGTH EP, and like it just fine. For this kind of a bag, I personally like the new Russell Gunn thing (ETHNOMUSICOLOGY VOL 4) better - more guts, more edge, etc. But the RH Factor thing is cool too. Kinda "pop"-y, but the grooves are good, and that's the object of that particular game afaic. It's actually nice to hear a player born in 1969 play music based on things that happened after he was born for a change. So, what are you doing your dissertation on?

Hadley Caliman - IAPETUS. GOTTA get IAPETUS! Maynard Ferguson - COLOR HIM WILD & SEXTET. Seriously. Sonny Red's side was none too bad. There's more... a bossa side w/Jim Hall, Jimmy Rainey, & Zoot Sims; the Terry/Brookmeyer stuff; cuppla Charles Brown sides that some might find cringeworthy, but some will dig. There's more...

TRANSLINEAR LIGHT I like it. Yes.

I thought he was in the "good but one of many camp" until I heard him on Alice's new album. If he can stay in that zone, he'll have something to say that needs to be heard from here on out. Not necessarily "innovative", but there's some emotional meat in his playing there that I'd not heard before, and that is rare amongst so much of today's jazz. Stay tuned, I suppose.