JSngry

It's an L.A. thing. I wouldn't understand. And don't. But that's cool.

I'm liking it. Pretty somber stuff, but not at all in a dour way. "Meditative" would probably be my adjective of choice at this time, especially as it applies to Ravi's playing.

And you like the cover, right?

I was disappointed with this one on first listen, and the years haven't changed that percetion. Not a bad session musically, but the recording quality is enough to make an amoeba claustrophobic, and I do think that everybody's done better playing elsewhere. Again, though, it's not bad. It just not... Well... As Lloyd Bentsen might have put it, I've known THE REAL MCCOY for almost 30 years. I've lived with it, slept with it, partied with it, done pretty much everything you can do with it, and YOU, Mr. NEW YORK REUNION sir, are no THE REAL MCCOY! I'm not dumping my copy, but I'm not listening to it except to see if this will be the time that it clicks for me.

Prior to that, he produced The Buckinghams for a few albums, and if you want to hear the blueprint for a lot of the "classic" Chicago stuff (the first 3 or 5 albums, when they were still a "horn band" first and foremost, you'll need to check them out. Didn't he move to Colorado? And wasn't that whole Caribou label thing his deal?

I regularly search for loose tiles, and repair any that I might find with a professional-quality glue. Careful, yes. But TOO careful? I think not!

Nobody knows Papasoff?

Anybody else remember Watts' long stint w/Doc Severinsen's Tonight Show band? I don't know how many nights I'd be fixing a sandwich and there wuould be Doc's goofy-ass clothes, Ed Shaunessey's goofy-ass sideburns, Ross Tompkin's goofy-ass face, Joel DiBartolo's electric-ass bass, Snooky Young's screaming-ass lead, and above it all, Ernie Watts' hundred-mile-an-hour-ass tenor solos. Not as good a fit as w/Buddy's band, but Buddy never had Snooky Young either. Oh well.

I expect io to be fileted.

"Rut" is a good way to describe the way it's beginning to shape up, for me anyway, although the concepts themselves continue to intrigue me very much even if the executions don't always (nothing's really sucked, though, so hey...). But I'll tell you what - my 18 yr old son and his cronies have been going kinda nuts over HARMONY & ABYSS the last day or two. I liked it well enough, but much prefer the album which is the topic of this thread. They, otoh, like that one well enough, but it's the other one that he makes a car copy for. So go figure. Nobody's young forever, and maybe what Shipp is into now has a relevance for an audience that I'm not a part of. I can live with that, ya' know? but I'll keep listening anyway!

You must have been order #38...

You talking the quote @ 3:56? That's "Autumn Nocturne". What am I missing? Or does spelling count?

I like it. The followup sucked, but this one was cool.

Carrott shines throughout, in solo, and, especially, in accompaniment. Pretty interesting player.

Yeah, the samples aren't indicative of the cumulative effect. If you like what you hear, you'll probably dig the full versions, but if you don't like 'em, you may still like the full-lenghts anyway, depending on how susceptible you are to succumbing to hynogroove therapy and listening to percussion interplay as much or more than horn solos, at least in settings like this. Myself, I'm there.

I just wish he hadn't have smoked so much. He'd probably still be alive. But maybe not. You never know, really. Ramsey Ameen told stories of countless marathon 8+ hour rehearsals w/Cecil's group where Jimmy would literally go through several packs, chain smoking (Camels, IIRC) all the way. Hey, I'm a smoker myself, but....wow. That's not good. But yeah, Mr. Lyons was definitely the real deal. More than that need not be said!

The whole quoting thing to me comes down to this - music is a language. Proceed accordingly.

I say let's all get out of the house more. That would fix a lot of stuff right there. Nothing wrong with the music(s) that getting it and its fans (and potential fans) in the same room together in a bout of old-fashioned money(or goods)-for-services-rendered won't go a long way towards fixing. If that can't or won't happen, then whatever happens as a result is probably the right thing(s) to have happen.

A good friend hipped me to PAPASOFF, a side on Red Toucan with the all-star lineup of Bakida Carroll, Santi DiBriano, & Pheeroan AkLaff, all of whom sound like they came to play, the focal point of the album. I confess ignorance of Papasoff, but I found his playing to be appealing. Not extremely "deep", but definitely forceful, controlled, and honest. I was also impressed by how his "sidemen" responded on what is, I think, a "debut" album - no skating going on here! If anybody's wondering, the music is largely what I would call "accessible avant-garde", what is going to be the "new mainstream", if it isn't already. Carroll in particular comes out swinging, literally and figuratively. What a fine player is he! He's a trumpeter that I would think would appeal to many in these parts. But truthfully, so is this entire band, and so is this album. Any information/further recs on Papasoff would be most welcome. I'm particularly intrigued after reading about INTERNATIONAL BARITONE CONSPIRACY on AMG (and not because of Thom Jurek's reveiew either!).

WTF?!?!?!?!?!?!?!?!

Oh $hit...

"Autumn Nocture". Throw me a fish.

UPS says that mine's not scheduled for delivery until Friday. What a pisser!

Dude, when you fight a fight long enough, and are convinced enough, and see that your "opponent" is never, ever, going to see things your way, you finally decide that it's more productive to just move on, create your own "parallel universe" where you can go about your business the way you see fit, and just in general roll your eyes and shrug your shoulders whenever anybody wants to fight the same old fights. For you they may seem new and valid, but for somebody who's "heard it all before", it really is the same old same old. Just as is, I'm sure, the need to be dismissive of the "attacks" are to those who make them. But I can tell you this, sincerely and not directed at anybody in particular (you, McDonough, Crouch, ANYBODY) - the notion that there needs to be a "burden of proof" placed on any creative endeavor is somewhat insidious if carried too lfar and too loud. People need to be free to create, and people need to be free to respond, all without some self-appointed, "outside looking in" "ideological police" hovering over the whole process who, far more often than not, have some kind of socio-political agenda driving their cutural one. When the NEED to stifle reas it's ugly head, it's best to kill it before it spreads. And how often does a "want" turn into a "need"? Less tha always, but more than never. Of course, artists will have their agendas, the public will have theirs, and critics will definitely have theirs. That much is inevitable, and healthy, as long as the entire process stays "organic" (insert your definition of that word here ). But theere comes a point where it can all get bogged sown in thinking, not doing, and that is the point where the wise ones just say "fuck it" and get on with the business at hand, which is most assuredly NOT getting drawn into the "same old same old" (much like I'm doing now. ). Bottom line, as I see it - if something works for you, and continues to work for you over time, stay with it. If it doesn't, leave it be and go with what does. Simple as that.

No, just that in some of the clubs in South Dallas, you either played what was in the house or you didn't get paid, and sometimes you needed the money in order to be able to eat. I think Red Garland needed to eat. Either the rest of the world's got it better, or else jazz players don't play joints anymore. Or maybe they don't need the work. I don't get out much these days, so I'll let you tell me which it is.