JSngry

You took the joke and extrapolated it into infinite nothingness! Infinity with a beginning and an end. Nowhere else but here at Organissimo!

Feel my eyes with that doable fission!

Yeah, Brown's always had skills, and has always been able to deliver the goods on a semi-regular basis. But first and foremost, he's always been a headcase. When you get to a Game 7, you want your ace, your guy who's going to hunker down and stop whatever bleeding has been occurring, somebody who can kiss it and make it feel better. Somebody who's not a headcase. Sure, nobody can do it 100% of the time, but if the best you can come up with in a situation like that is Kevin Brown, well, you're going to be let down far more often than not.

And throw in Ralph Peterson's TRIANGULAR!

That would be mine as well, which lowers my interest a little.

I'd not be surprised, but could you humor me and share it with me? I'd get a kick out of reading it! Besides, I'm not bloodied. Shake it and see.

Simply amazing.

I don't know about all those terms and stuff, but Cherry was actually very fluent, fingerwise, in the "bebop" vernacular. And he often enough displayed a decent range. The only aspect of his playing that could be considered "homemade" from a traditional, academic standpoint would be his tone. And I wonder what part the pocket trumpet and/or smack played in that.

Not really.... There was at least one late 60s side, this one: I used to have it, but traded it for room and board during one dire spell. It wasn't too bad at all. Wasn't there a Tangerine side too? Also,, there's these rather dire sessions cut for an RCA subsidiary in 1955-56: And then there was this one, his actual final one, cut for Black & Blue in 1973: Haven't heard it, but Fred Below is on drums, so I probably should... Yeah, Jordan is pretty identifiable once you get him in your head (and when my son was a toddler, he used to BEG me EVERY day to put on my LOUIS JORDAN'S GREATEST HITS LP so he could dance to "Track Jack", as he called "Choo Choo Ch'Boogie", so I got him in my heard pretty strongly!). Doesn't really sound like Bostic at all, except superficially.

On who? Not me...

As do you!

Yeah, give me the ancient knowledge first. Definitely.

Well, yeah, although the rhythmic sense of somebody like Warne Marsh leads me to believe that although this flexibility is most prominent in African-based cultures and musics, it's not necessarily exclusive to them. To me, the question is whether or not a lot of societies/cultures have lost what they once had in a land and time long ago and far away, as well as whether or not that something still lingers inside, waiting to be rediscovered and redeveloped, whether or not what is commonly refered to as "whiteness" in matters such as this is a result of something not being there in the first place, or a result of that something never really being gotten in touch with, maybe even being "supressed" over centuries. I honestly don't know.

Oh yeah, didn't John Payne have an album (or two?) on Arista-Freedom in the 70s?

ASTRAL WEEKS has always lived up to the hype for me. MOONDANCE, other than a few songs, hasn't. And afaic, VEEDON FLEECE is a freakin' masterpiece.

Any mention of who the producer(s) was/were?

I'll clera some space out tommorrow, or else you can send email through the function here on the board. Sounds intresting!

Always loved Guitar, knew that he had jazz chops, but never knew him to be a pianist (although given the environment he grew up in, he probably had exposure to piano before guitar). What interests me about this cut, like I said earlier, is the rhythmic variety in the playing, how non-metronomic it is. That's what blues (or more accurately, the blues "environment") can do for jazz - get you to thinking in more "natural" rhythms instead of running eigth notes forever and ever, choruses without end, amen. Excellent choice, Mike!

http://www.organissimo.org/forum/index.php?showtopic=14181 Talk to me!

The circle is an ancient sign of infinity. "Organissimo" both begins and ends with a circle. Therefore it is the Alpha AND Omega of infinity.

Mine was unquestionably the one where Pee Wee lip-synched to Bob Hope's record of "That Certain Feeling" and then he played wiht his giant underpants and then some more stuff happened and somehow they had a slumber party and Miss Yvonne gave Ricardo the look and they read a book called "Part Time Dog" and then Jambi married Pee Wee to a bowl of fruit salad and then some more stuff happened. Man, that was some wack shit!

Like it/him or not, Reggie's move was "hardball", a "trick of the trade". More than a little shady, yeah, but you do what you gotta do and you don't make it too obvious. A-Rod's thing last night, on the other hand, was sissified, something that a self-absorbed Little League coach's effeminate son being groomed to be a "star" would do when they were, like 7 or 8. Totally classless, and, in its obviousness, supremely unprofessional. You slam into the guy, or something, but to SLAP at a motherfucker's glove like that is SO girlymanish. Jock check, A-Rod. Please.

Yeah, I had forgot about that. The "question" was meant as a joke, pretty much. The "image" of Peter Ind playing w/these guys on this kind of a date makes me chuckle, that's all. No doubt at all that he could handle the gig just fine, or that he might have even enjoyed himself.

Supposedly that was a real question asked of Desmond by an airline stewardess!

I think that DIPPIN' is where Hank begins to go into his final, somewhat more confrontational and darker period. It's still "upbeat", but far from "sunny". You couldn't pull a knife to SOUL STATION, but you could to DIPPIN'. Not that you'd want to. But you could. SOUL STATION is the sound of daytime, so to speak. DIPPIN' is more of a night thing. Love 'em both, but when it's time to cut to the chase, gimme the night. That's just who I am. But your mileage may vary, as they say, and w/only four votes, it obviously does!