JSngry

If you have to categorize him (and I don't see why you would, but the subject's been raised...), I'd say that "sythesizer" is a more appropriate designation that "innovator". But I also say let's fuck all this terminology and just enjoy.

Growing beyond is great. Imperitave, even. Not so sure about leaving behind. If it becomes an impediment, well, yeah its necessary. PURGE! Otherwise, keep it all, and keep it all in perspective, I say. It's all "in there", whether we want it to be or not.

In my mind, a "device" is the tool, the "innovation" is the result. If Joe made any innovations, they were in terms of the mechanics of saxophone playing itself, and what he did there was take other people's techniques and apply/stretch them to his own ends. For instance, his use of false fingerings/overtones/etc has its roots in Lester Young, and also in Trane's use of the same devices. But Joe also added the "control" that comes from classical study, and was able to do something whooly personal with the device, something that wasn't really "new" in it's techniques, but was distinctive in its application. You can say the same thing about pretty much every aspect of Joe's playing, although I suppose a case could be made that his rhythmic sense was innovative. Although his subdisions seem to me to again be rooted in classical studies. It's his application of them, with that incredible swing of his that makes them special, not the technique itself. That's pretty much what Joe did - take everything that was already "on the table" and use it in his own personal and powerful way. I guess you could say that Joe Henderson's true innovation was becoming Joe Henderson. No small feat, that. This is getting kind of "esthetic", and I'd just as soon listen to OUR THING or IN JAPAN, thank you!

I don't know if I'd say "innovative" so much as a unique (and for many, compelling/irresistable/whatever) consolidation of a lot of different innovations. He took a lot of other player's "devices" and molded them into a totally personal voice. Maybe that's an innovation itself, I don't know. But I'd hate to have my life depend on making the argument.

I was out this afternoon, had a few extra minutes, passed a B&N, and succumbed. We'll see.

This album was available for a LONG time.

Thanks!

Oh well...

You're telling me I DID miss Hawk? Yikes...

Well, if anybody would know...

Sachiko teaches the class.

Let my children hear music, with or without liner notes.

I'm still wondering why Red didn't lay it down. Wouldn't have hurt anything.

Hey - you also got "Busy Doin' Nothin'" on there too, and if that one ain't everything and more, then nothing is!

Rose Royce tells me that the wax they spray on is specially formulated to not stay on glass. Supposedly it rinses right off. I'm waiting for Franklyn Ajaye to confirrm this, though. In the meantime, don't smoke dope. Fry your hair.

Very nice, but no longer "small" overall. Different game.

Songwriter, yeah, but he was one helluva producer first and foremost.

Well hey - WILD HONEY is damn near a perfect record too. In fact, I'd go so far as to say that, personal problems aside, the whole "small" period from SMILEY SMILE through the majority of 20/20 is a very rewarding period if you're not looking for hits or the hit mentality. Just nice, intimate, warm (if often flakey), small pop. Works for me better that most "larger" stuff, actually.

I think that SMILEY SMILE gets a bad rap, actually. Yeah, it was a "settling" or a "salvage job" in some ways, but still...

Well, since we're keeping score, here's the lineup for the 2-LP set (Columbia Digital 12C 36770) I've got: SIDE ONE: One Of Another Kind 20:38 SIDE TWO: Teardrop 10:18 Pee Wee 7:47 SIDE THREE: Para Oriente 7:09 Fragile 9:08 SIDE FOUR: Domo 12:13 Stella By Starlight/On Green Dolphin Street 6:45 Given as "Recorded live at Denen Colliseum, Tokyo on July 26, 1979".

Can you say petty bickering? http://www.ejazznews.com/modules.php?op=mo...order=0&thold=0 Hall of Fame All-Stars missing a star Long-running dispute keeps Ben Tucker off ticket. John Stoehr (Savannah Morning News) Bassist Ben Tucker will be absent from tonight's ( 9/26 -Saturday’s) performance by the Savannah Coastal Jazz Hall of Fame All-Stars. That's the elite group of musicians elected to the Hall of Fame by members of the Coastal Jazz Association for their contributions to jazz. Members Teddy Adams, a trombonist; saxophonist Eddie Pazant; and drummer Ben Riley are all confirmed to appear, but Tucker will again be absent as he has been for six years. Why? According to Teddy Adams, co-director of the All-Stars and the person responsible for booking the Jazz Festival, there are two reasons. In 1998, by all accounts, Tucker left the stage during an All-Stars performance at that year's jazz festival. Tucker claims he left to honor a 6 p.m. gig and had informed Adams of this commitment The All-Stars were slated to play at 3 p.m. but were delayed for two hours. As 6 p.m. drew near, Tucker signaled Adams that he had to leave. At that point, Adams informed Ike Carter, president of the Jazz Association, of Tucker's situation. "Ike threw up his hands in disgust and the whole concert stopped," Tucker said. Adams agrees he was aware of Tucker's situation, but said he warned him of delays. "Ben knows that festivals don't start on time," Adams said. "Everyone knows that." Adams also claims that Tucker had assured him that he had a substitute lined up for the other gig in case he could not leave. "That is not correct," Tucker said in response. "I asked the bass player from the Air Force band to stick around to cover for me in case I had to leave. I had to figure out how to leave without hurting the All-Stars." Tucker whose career includes recording credits with Benny Goodman, Shirley Horn and Johnny Mathis, never received another invitation from the All-Stars and said he's still unsure why. What's certain is that from this communication breakdown arose bitterness and anger. "He stiffed us," Carter said. Carter says he discovered later, however, why Tucker left the stage. At the time of the incident, Adams alone knew of Tucker's time issue. Both Adams' and Tucker's accounts support this fact. "No one was privy to that information except Ben and me," Adams said. The second reason for Tucker's estrangement from the All-Stars came one year later when Adams learned that Tucker booked an engagement on the same day the All-Stars were to play. "That was disrespectful of the Coastal Jazz Association," Adams said. Therefore, Adams said, the other All-Stars voted to ostracized Tucker. "We jointly decided he obviously wasn't interested in playing with us," Adams said. "So we didn't invite him back anymore." But two other All-Stars do not corroborate that a consensus vote was taken. "I'm not privy to that," said Ben Riley. "I don't live here." Riley said that he is not a voting member of the Jazz Association. "I don't know anything about that," said Irene Reid. "I haven't seen Mr. Tucker in years." When told Riley and Reid admitted ignorance of a consensus vote to oust Tucker, Adams said the Jazz Association's then board of directors approved the measure. However, he could not provide officials' names, except Carter's. Carter could not be reached for additional comment. Tucker says he was unaware of a ban, but admits he took a gig on the same day of the All-Stars' performance. "I took it because no one invited me to play [with the All-Stars]," Tucker said. "If you want me to play, you have to call me." Moreover, Tucker says he waited for Adams' call until September, which is late in the year for securing performers for the fall festival. Tucker's befuddlement over the jazz association's poor planning is not isolated. "The jazz festival is not a tight ship," said Rob Gibson, artistic and musical director of the Savannah Music Festival. "I'm interested to see if [tonight/(Saturday)] starts on time. This is a Savannah problem, not a festival problem." As for Tucker's absence, Adams says there is hope. "We might revisit the issue," Adams said. "The door is not closed." But for Tucker, it's water under the bridge. "I've put it out of my mind, heart and soul," Tucker said

Those unfinished(?) versions are on the GV box, and on "Vegetables", eh, I could go eithr way. But tell you what - the SMILEY SMILE version of "Wind Chimes" is a MONSTER!

Ok, fess up - who amongst us here is "Jennifer Eccles "? http://www.bluenote.com/detail.asp?SelectionID=10321

Let's all go over to Bob's crib to jam and hunt us some possum! Don't come unarmed!