JSngry

Christians have Jerry Falwell, athiests have Barry Manilow. Damned if yoiu do, damned if you don't.

Hey, I just start'em. The rest is the voice of the people!

http://www.oldies.com/artist/view.cfm/id_2342.html http://www.bsnpubs.com/mgm/sunflower.html http://www.lyrical.nl/song/19654

Drool...

I'm late (as usual), but would liketo participate. Could some US member be so kind as to shoot me a copy? Send me an e-mail through the board for mailing address if needed. 'Prechiate it.

Got to hear this, and it's interesting mostly for Harriot's playing, which, although remaining essentially "inside", still shows a lot of tonal and harmonic references to his free work. He sounds at times like a continuation of the Criss/Dolphy lineage, but in his own way. Pretty "attention getting", especially on "Polka dots & Moonbeams". The sound is REALLY funky, and the rest of the band is good, if nothing else. Phil Seaman gets a good groove going. But if you dig Harriot, I'd think that this would be something you'd want to at least hear, and, at the right price, own. I dug it.

Yeah, I'm familiar with the term. And the style. I'm tired, but I'm not dead. Besides, my radio still works.

Dude, I kid you not - that's exactly what it was.

I've got Daddy Dewdrop on the phone. Can I book him for the convention?

I picked up an Atlantic Baker thing w/Frissell & Haden a few years ago, and was neither impressed nor disgusted. Listened to it a few times and filed it away for future ignoring, where it's remained ever since.

Makes perfect sense to me!

Played a gig Saturday night in FW, a fundraiser for Campfire (formerly "Campfire Girls" for all you fellow old farts). Part of the deal was an art auction. This being Fort Worth and all, the has a cattle-type auctioneer running the show. You know, the type who you could slow down to half-speed and still get dizzy listenoing to them. This guy was introduced as "the dean of Fort Worth auctioneers", and once he got going, I was fascinated - this guy was rolling off his chants (or whatever they were) faster than I'd ever heard anybody speak in my life. A few minutes into the first item, and it hit me - this guy was sounding like a Buddy Rich solo with words! I mentioned this to the trombone player, who had actually worked in one of Buddy's later bands, and after a second of two of a blank look, like he didn't get it, he started convulsing in laughter. "YES!", he started saying repeatedly. So it can be done, I'm comvinced. Somebody just needs to write hipper lyrics than "gimmeabidgimmeabidwhosthemangonnagimmeabidtwofittynow".

Is there a similar site for famous gods who don't believe in people?

I remember Ginger Baker's Air Force, and none too fondly. But it's been a while.

I don't know that Vernard's ever even heard of Ayler. But Ayler's coming out of the same interpretive tradition. Whever I hear Gospel saxophone, the w--i--d--e vibrato and keening sound is always there. So, I'd not use the comparison in terms of "influence", but I think it's safe to do so in terms of "roots", just as it is w/New Orleans funeral brass/funeral bands.

?????

This one's kinda Ken Nordine-ish: http://www.vidlit.com/craziest/craziest.html Very cool site.

Damn funny, I'd say!

There are so many potential variables in that scenario that to unequivicolly reach that single conclusion is really pretty dumb.

Valid opinion, as they did record an album with Shearing for Jazzland (available on OJC CD). I already mentioned that record, and no, the Mastersounds didn't record with Shearing. I'm still not convinced that it follows from the fact that the M brothers recorded one album with Shearing that the Mastersounds (a quartet with no guitarist) resembled Shearing's groups. I think you might be making more out of the comparison than I intended. Didn't mean to suggest taht they were like Sheraing, just that they were closer to Shearing than they were to the MJQ in terms of overall ensemble sound. Not solos or groove or anything or anything, just the way they played their heads What I've heard of The Mastersounds (the KISMET album and a few odds and ends here and there) has featured heads that are played as a unit over a "regular" rhythm, not the emphasis on melodic and rhythmic counterpoint that so many of Lewis' compositions called for. Plus, they played more "regular" type tunes. And, although they indeed swung, they did so in a relatively "polite" manner (again, based on what I've heard), yet not in the all-out "chamber" manner of the MJQ.. Noe of this means that they sounded like Shearing's group, or any thing like that, it just means that in the vibes/guitar sound (and if you're referring to The Mastersounds without Wes, I can't comment. Never really heard them, at least not that made any impact), they lean more towards Shearing than MJQ, without really going too far in either direction. It's a "realtively" thing, that's all. I mean, I could see the Mastersounds appealing more to Shearing's crowd, who liked "recognizable" material "nicely" played, than to the MJQ's, who no doubt appreciated for whatever reason(s) the "highbrow" element(s) of the group.

WHOA! How did they "explain" a rock band in the mid-19th century? Or did they not even bother to try?

Now THIS is what gets lawns mowed, plumbing fixed, ANYTHING that involves solitary labor done, across the world.

Hilary Duff's from somewhere in our neck of the woods, ain't she? Steven Tyler's publicly confessed to having a "crush" on her (which, given her age, is at pretty euphemistic), so I dunno how "run away, run FAR away" she actually is...