JSngry

Sorry-ass punk motherfuckers.

My copy arrived yesterday. I may never get off the john.

Where's the snack bar?

Chick's birth name is Armando Anthony Corea .

The advertisements show a stunning resemblace, but if it's a dog script, what difference does it make?

Jaime Foxx

Hey, I've heard plenty of justifications for lip-synching over the years, some of them quite "plausable" (like the one about the choreography is so intense in spots that the singer needs some help, and since the choreography is such a big part of waht entertains the fans, hey, no biggie, it's all show buisiness, right? ). This little twerp could have at least had the presence of mind to not say anything until letting her handlers give her something to say. But no - blame the band. If I were in her band, I'd be sorely tempted to call a rehearsal to teach her that Ramones song "Beat On The Brat", and teach it to her by acting out the lyrics...

Not you, no. But wouldn't 1 in 5 guys named Moe be about the statistical norm, roughly?

Apologies in advance, and know that this is not language that I use carelessly or indiscriminately. Fuck you, you fucking no-talent media-whore cunt.

I've never said this about a female before, but... What a freakin' tool.

Ex-ACT-ly!

Need/want a date? (I'd have to bring my wife along, but it would still be fun!) Yours in creepiness, Jim

Best thing to do is offer congratulations and best wishes (for patience, wisdom, etc.) for the child and parent alike as they go down life's road, or something like that. It might also be gracious to informally express thanks at being invited. After all, a christening is (in theory, anyway) a religious ceremony first and foremost, and the fact that you were invited to participate, even as a "spectator" is an indicator that the child's parents view you as a close and special friend. In that regard, it's not unlike a Christian being invited to a Bar/Beth Mitzvah. My daughter was inveted to a Beth Mitzvah a few years ago, and we made sure that she realized what an honor it was, that the girl and her family must view her as a special friend to invite her. Same thing here. This is all going on the assumption that the child's parents aren't evangelical zealots who are trying to convert you (but I don't hink that you'd be this close to them in the first place if they were, right?). In that case, all bets are off. In short, graciousness and simple respect for the specialness of the occasion to the participants are called for, nothing more, and nothing less.

Just for the hallibut, I took this Sunday morning to listen to both TRIBE & FLEA again. It had been a while. TRIBE is a very nice record throughout. "Composed free" in spots, and at times reminiscent of some of the early ECM in style (but not timbre). Joe Farrell & Billy Harper both give strong performances, and Dave Friedman, a name I blew off decades ago, is a pleasant surprise. FLEA is just a tad more "fusion-y" than I remember it, but it does have it's moments, notably in great flute work by Art Webb (is he still around, even if it's playing Latin gigs?) & Dom Um Romao. Far from "essential" indeed, and I don't know that I'd pay full price for a reissue (I would for TRIBE, I think), but not deserving of total obscurity either. It's albums like this that Napster & Kazzaa were tailor made for.

So you like the Teo, eh? You might want to try some more!

I think it's freakin' hilarious! Hey, if you can prove to people that they're being fed bullshit, and they eat it up anyway, whose fault is that? Parallel universe, baby!

I would very much like to sit down w/Mr. Ratliff and others of his ilk who talk about Ayler's "rudimentary" technique and point out any number of passages on, say, VIBRATIONS and SPIRITUAL UNITY that should get them to get their heads out of their collective asses. "Saxophone technique" is not the same as playing changes. Playing changes is not playing the instrument, that's playing a type of music on the instrument. Ayler may or may not have ever spent time learning how to play changes, stories vary, apparently, but he sure as hell put in some time learning how to play the saxophone. There was a review in The Saturday Review. ca. 1965(?), of the Fantasy issue of MY NAME IS ALBERT AYLER, where the reviewer (forget who he was, but it was a "name", possibly Martin Williams? - anybody who can find it, please post) noted that his first reaction was to wonder if Ayler could even play the instrument. He then noted that further listenings revealed that there were moments of seeming ineptitude mixed with moments of high-level virtuosity. The sentence from the review that I (almost) remember is, "it becomes apparent that Albert Ayler is a very, very good saxophone player." I would not-so-respectfully suggest that people who can't hear this aren't really hearing what is going on in Ayler's music. They may be feeling it (maybe...), but they sure as hell ain't hearing it. Whether or not that matters or not, or to what degree, is another discussion, I suppose...

A mascot named Moe - Organissimoe.

Won't somebody PLEASE take the lady with the skinny le...er...make Organissimoe?

Yeah, that's what I mean.

Yeah, get an after-market firewall, learn how to use it, and keep it updated! Same thing w/anti-virus software. Essential! And even though the "always on"feature is convinient, it won't hurt anything to turn the modem off when you're not using it. Pretty good safety practice actually, afaic. You got cable or DSL?

Yes, a pleasant mess indeed! DIZZY'S PARTY is much the same, but a little messier and maybe not quite as pleasant about it. But it's still a cool thing to check out, I think.

Well, yes and no... FLEA is one of those albums that is too much in its own bag to really comapre w/others that are roughly in the same bag. In other words, it's a "fusion" album, yes, but not a FUSION album, if you know what I mean. "Interesting", "quirky", "unpredictable", these are all adjectives I'd use (quotes intact) to describe Horacee Arnold's music. The fact that it got released on Columbia (executive producer John Hammond, no less) seems pretty mind-boggling these days. The fact that they sunk pretty much without a trace pretty much immediately doesn't. Arnold's writing and concepts were quirky, and if they've not proven to be of "earthshattering importance" or anything like that, their uniqueness still makes them interesting to hear today. It's very "unique" music, and I appreciate it as such. Same w/TRIBE, which is a different bag altogether, one of those "sorta free" albums that's neither fish nor fowl in that regard. I mean, really, Billy Harper & Dave Freidman together? You know that's the product of a mind that hears things a little differently than the rest of us! Probably these albums (& FLEA's the only one to be reissued) are more for "connoiseurs", specifically those of the many new directions jazz was trying out in the early 70s, than for "general audiences". But there's more than a few of those aboard in this community, so....

I agree. Who's reissuing it? Arnold's other Columbia album, TRIBE, is another obscure, if not quite gem, one worhty of a fate better than total obscurity. With Billy Harper, Joe Farrell, Dave Friedman, Ralph Towner. George Mraz, & Rakph McDonald, it's an eclectic (to put it mildly) lineup and the music is much less "fusiony" than that of FLEA. Can the reissue of Albert Dailey's Columbia date be far behind?

All of the above, actually. DIZZY'S PARTY is much the same.