JSngry

I like this one too. Kinda "nervous" in spots, but that's ok - it's an honest nervousness, not at all neurotic. They're all young, so it's supposed to be like that in These Modern Times.

I too have found the source (by Googling one long phrase). Oh well! (BTW - I give the guy points for linguinistic color!)

Yeah!

Jim, I wonder if you would be kind enough to elaborate on your assertion that not many "players" liked Art Pepper. Were you referring to Art, the person, or Art's music ... if one can separate the two. Over the years, after many discussions with west coast musicians at the various "weekends" that Ken Poston puts together, Art Pepper has always been a hot topic. (The image of the "empty chair" at the table is very apt in this case). I agree that after a few drinks most of the people who knew and played with Art will confess how difficult it was to find him likeable all of the time ... but I have never ever heard anyone say anything negative about his music. He is considered about as close to an improvisational "genius" as most of them have ever encountered, and they all speak with envy about how natural and easy it was for him. The guys who played with him in the Kenton orchestra are universally in awe of this natural talent. (But don't get them started on his drug habit!). Garth. What I meant was that there aren't too many players like Art Pepper, not that a lot of players didn't like him. Sorry for the lack of clarity on htat.

Still, "various" DOES begin with "V"...

I keep a section for "various". It includes compilations and all-star dates such as these mentioned, those where the group has no name. My quandry is this - do I file "various" under "V" or not?

Where are you finding this stuff? "Bunny go"?

Arrived.

Oh, I like Benny Carter just fine, but I don't think he's anywhere near as "twisted" (in an objective, non-derogatory sense) than Pepper. With Carter, you get a degree of seperation, sure, but it's one that comes from the player presenting his creation after it's completed (a;though the time span involved from beginning to end is but a microsecond, it's still enough to matter. In other words, Carter gives you the finished product and keeps everything else out of view, like a work of architecture or some such. Pretty straightforward, really, and I suspect how one reacts to him is dependent upon how much more that the finished product one wants/needs to be a part of. When it's as well-crafted, intellegent, and knowing as the best of Carter's playing is, it's enough for me. No complaints. No complaints about Pepper either, but the difference for me is that Carter creates that degree of seperation before giving out with the music, whereas Pepper creates it after. Unlike Carter, Pepper lets you in on everything that's going on (and that went on), but the second he does, POOF, he snatches it right back. Carter's more than happy to let you have it, perhaps because he "it" was a seperate entity from what was used to create it, so there was never any concern about being able to do it again, whenever and whereever. With Pepper, I get the feeling that there's a part of him that is afraid, perhaps even terrified, that since he knows he's showing/giving us the whole deal, if he lets it go, if he gives it away it'll be gone for good. so he snatches it right back. Like I said, not too many players like Art Pepper, and truthfully, if the "what" of what it was that he was putting out there wasn't so damn compelling, I'd not bother with him. Too much other rewarding music that isn't so perpetually "teasing" (not the best word, but all I can think of right now). But it is, and I do. Like I said earlier, he consistently beats me at his game, and then he pays me double. I'm a sucker to keep playing, but dammit, I need the money!

How to put a positive spin on "to wash out the flavor of the mud"? Yeah, a river or a lake cat can taste muddy sometimes (not always, though; usually not, actually). But a farm raised, grain-fed catfish will actually have a bit of a sweet taste to it. And the meat is soooo tender. Delicious!

Piss poor here, too. Two years ago, I was working regularly enough with seven different bands. Now it's down to two, and their work is not regular by any stretch of the imagination. The others threw in the towel. I now work, on the average, as much in a month as I used to in a week. For the first time since 1979, when I was still a college student, I'm not booked for New Years. Yet. You never know. But I'm not holding out hope. Undercutting for gigs has gotten to the point where some people are actually willing to lose money to work. I'll do that for the right type of music under the right circumstances, but these are "commercial" (in one form or another) bands I'm talking about. Nahgunna doooooo that. Sorry. DJs, karaoke, the lack of people who care about being in an environment with live music, undercutting out the wazzoo, a poor disposable income economy in general, these are all factors. And no doubt there's more. Whole 'nother world we got going on these days...

Well, you've listened to him and lived with him a lot longer than I have, but he's always struck me in just the opposite way - that he created a totally individual identity that he could not share for any longer than was absolutely necessary. I mean, his whole deal, tone (Bird's tone went outward and onward seemingly into infinity, Peppers did the same, just in the other direction), phrasing (how many of his phrases start quiet, hit a quick eruption, and then recede as quickly as they arrived?), time (has anybody ever hugged the beat tighter than Pepper and still been able to swing?), everything, seemed to be designed to intentionally extend outward just long enough to have been put on display and then immediately, if not sooner, snap right back inside from whence it came. If Bird invited us to hop on and fly, if Konitz invites us to lay back and see what's there this time, what did Pepper invite us to do? Marvel at what a bad motherfucker he was and then get the hell away, basically, is how I hear it. Of course, the reality of it all is that there's no way in hell that a lot of us could do that. Nor is there any way in hell that he'd stop issuing us the invitation (maybe that's what you mean by not being able to possess the identity?). It's pretty damn perverse, really, but it's neverhteless as real as everybody wanted/needed it to be. And reality wins most every time as far as I'm concerned. To me, Art Pepper was like a Three Card Monte man who payed you double every time he beat you (and of course, he always beat you). Go figure.

Well, yeah. I "recieve" Pepper in such a way that I percieve the emotion more than actually recive it. It's not like it's not there (god know, it's overflowing with it), it's just that I get the feeling that it's being put out there for me to observe rather than participate in. almost as if he's saying, "Yeah, I've got it, and THIS MUCH of it. Show's over. Move along." Which is cool, you know, it's that whole "emotionless soul" thing in full flower. But you also sense that if he means it at that exact moment, he doesn't REALLY mean it longterm, because if everybody moved along and stayed moved along, there would eventually be nobody left for him to show it to, and THEN where would he be? The need to prove depends on having somebody to prove to, right? And wanting to prove is not the same as wanting to share. And - not wanting to share is not the same as HAVING to share anyway, for any number of reasons... I mean, I DIG the cat immensely, but my "realationship" w/his music exists at a totally different dynamic than it does with most other jazz greats. Which, again, is somehow what I think is the point of the whole thing - the creation of a totally individual identity that defies "possession" of anybody except its owner.

Ok, to be more precise, I think the very late 60s were when Miles is reputed to have cleaned up, gone on a health food kick, stopped using drugs, and all that. 67-69. roughly. Not a very long time, but I do think it existed. But yeah, as the 70s got into full swing, Miles was back doing a lot of things.

For later live Freddie, I'd recommend the Keystone sessions on OJC w/Joe & Hutch. I've heard a bootleg somewhere that's just nuts. The chops are used totally in service to the music. But I don't know where/when it's from or who's on it. Just heard it once at a party. But get it if you can!

Shipton did not go into specifics like these, but he did say that Dizzy drank a lot and was often unhappy with the direction his career had taken up until, roughly, the last decade of his life. So incidents of the type mentioned here do not surprise me. Shipton does mention the most public of the paternity suits, the one involving singer Jeannie Bryson, who was actually Gillespie's daughter. I can also say that the one time I saw Dizzy in a club setting, in 1974, he had women all over him, and did not seem to be making any effort to put a limit on how far things would go. None of this should really surprise anybody, I think. The "public" Gillespie of later years was a product of his embracing of the Baha'i faith, I think. The private Gillespie was something else, no doubt, full of demons not yet conquered. If Shipton is to be believed, the two conflicting Gillespies finally reached somewhat of a resolution in the final years of Dizzy's life. One certainly hopes so.

Not sure how you mean that, but that was supposedly one of Miles' sober periods. Not coincidentally, it'a also the peiod of his chops being at their peak. As for Pepper, I like him a lot, but can't "get close" to him emotionally. Which may or may not be the point of his music, I dunno. Don't know that he wanted to put it out there that readily... But that Vanguard stuff is da'bomb. Elvin & Pepper connected, so hey....

It's REALLY good stuff. Especially the pickled green tomato relish they serve as a side. YUM!

http://www.epexperts.com/news_index1283.html EEOC Settles Sexual Harassment Lawsuit Against Great American Foods for $81,000 Ore City, Texas-based Great American Foods Corp. has settled and EEOC sexual harassment lawsuit for $81,000. The company operates the David Beard's Catfish King restaurant chain in Texas and Oklahoma. In its lawsuit, the EEOC alleged that managers at a Catfish King in Idabel, Oklahoma, sexually harassed a waitress and that, despite repeated complaints to company executives, the company failed to take prompt and effective measures to end the harassment. In addition to paying the monetary settlement, the company must provide anti-discrimination training to its workers. Hooked and landed!

http://www.davidbeards.com History of the “Catfish King”—David Beard David Beard, a living testimony of the “American Dream,” is a self-made man who is as modest about his present state in life as he is proud of the mother, family and friends who helped him achieve his success. From his humble beginnings in Hughes Springs, Texas, where he walked away from high school at the age of 14 because his family couldn’t afford to buy him shoes, to his present position as CEO of the largest farm raised catfish restaurant chain in the world, Mr. Beard has stayed true to the lessons his mother taught him as a child. Her early instructions about cleanliness, pride, and hard work are the basis for the success of David Beard’s catfish restaurants, which are scattered over several states. Mr. Beard opened his first restaurant in 1969 in a shotgun style building, which seated 120 people and rented for $150.00 per month. The restaurant was located on Highway 155 near Ore City, Texas. He opened the restaurant close to his home because he liked to eat catfish and was certain he could cook it better than anyone else around who was serving catfish. In those early days, his mother made the hushpuppies from her own recipe, a recipe his restaurants still use today along with their famous tomato relish. Either Mr. Beard, or his brother, Jerry, would haul the live fish from Arkansas or Louisiana in large minnow vats they carried in the back of their pickup trucks. David and Jerry would cut up the fish daily, using a process of hand washing the fish in clean, clear, fresh water, two, three, and sometimes more times, to bring out the flavor of the fish. Mr. Beard also did the cooking, while his sisters and other relatives helped in the restaurant. From the very beginning, the business was truly a family affair. Back then cooking every night except Wednesday and Sunday, Mr. Beard served his “mouth-watering catfish” to the people of East Texas and miles beyond, including other states. As his reputation grew, people flocked to the rural East Texas restaurant and stood in line to wait for a seat—sometimes for hours in poor weather. He expanded the restaurant twice, but that didn’t seem to solve his problem. In 1974, when the owner didn’t want to sell the building, Mr. Beard bought 10 acres down the road. To finance the move, Mr. Beard borrowed as much money as he could at the time and built a 13,500 square foot restaurant that would seat 550 people. The David Beard’s Catfish Village continued to flourish, so the Beards bought a bobtail truck to haul the fish, laying the groundwork for today’s vertical operation in Ore City, Texas that includes a full office staff, manufacturing division and a construction division, as well as a commissary and a catfish processing plant in Hughes Springs, Texas. With lines of people still waiting for some of that “mouth-watering catfish,” Mr. Beard decided to open his second Catfish Village restaurant in Longview, Texas. When the second restaurant was successful and the original restaurant’s business continued to be just as good as before, Mr. Beard elected to open even more restaurants (including fast-casual concept called Catfish King) that continues to this day, and, as they say, “the rest is history.”

Thanks.

Who's got the best price on this?

Sides!

DAMN that's a big cat! 20 lb test line, eh? Any info as to what kind of tackle? That must have been one hell of a ride...Glad the thing is alive and well. Hope it gets treated well in its new environs. Kids will freak out about seeing it! Somebody put David BEeard under 24 hour surveilance!

Prices are listed as follows: CD: Euro 17,00 D'CD: Euro 24,00 LP: Euro 12,00 D'LP: Euro 17,00 + Porto / Shipping Costs! With a directive HERE to order by e-mail: info@moers-music.com Are you saying that they don't respond? That's useful information if so. I asked here a few weeks ago if anybody had ordered from the site and got no affirmative response.