JSngry

Howcomeyou Always Fone Collect?

Jamal was so FRESH back then. He's still doing some tough work, but that trio w/Crawford & Crosby was like the first day of spring or someting. You can literally feel the sunshine and smell the green grass beginning to grow. Shrdlu - all I have of the Okeh material is an old Epic LP. Is there a "complete" CD collection of all this stuff?

There was a Casablanca 2-LP set that had everything. Worth looking for afaic.

Have another French cousin?.

Les MCann. Yes.

George Benson?

I try to respond and lead at the same time. Try to get inside everybody else's head and try to let them get into mine. That way you can more often than not let something happen instead of trying to make something happen. I'm not at all into the "this is my solo, y'all follow me" thing. Unless you're playing with less experienced players who want/need that guidance. Then you do your best to step up and deliver. Having said that, though, sometimes there will be something, either from me or somebody else, happening, that is so strong that you just gots to go with it, previous intentions be damned. That's the beauty of this music - it's very "lifelike" (at least at its best), and you gotta be able to react/respond to damn near anything at anytime. Can't always get what you want, as the song says, but if you want to, you can usually get what you need, whether you knew that was it or not! I've for years had to follow Hurricane Gallio about 50% of the night, and when you follow somebody like that, it does no good to try to beat, or even compete with, him at his own game. Can't win. CAN NOT win. So you find a way to transition from where he was to where you're going to be. Of course, it helps to have a rhythm section who knows this, and to have a band that is built around this concept of complimentary opposites. Pete will tell you the same thing about following me, too. What we each do is so different from what the other one does that each piece becomes a suite of sorts, as the different voices emerge and establish. That's a groovy thing, I think. It's kinda gotten me soured on the whole "assembly line" approach of so many jam sessions and such, where what you can bring is defined within set parameters that don't move all that much. Of course, when you're playing with REALLY good players in that bag, it's a different matter. There, there WILL be different things going on throughout, and even if the overall "style" remains the same, the little things will make the difference. But that's the type of thing that you have to learn over time. Speaking of which, one thing I definitely learned from the old cats is that "after you" is seldom an act of courtesy...

There may also be a non-spyware file that is causing the actual spyware files to regenerate after cleaning. I found that out when dealing with the randreco thing. A file from "Phone Tools" was the culprit, and it wasn't caught by the normal scanning. But be careful how you delete whatever you delete - I got rid of the PT thing, and now I can't delete randreco. It has, however, been rendered harmless somehow. And check/clean your registry too. But that's not a job for hobbyists, if you know what I mean. The AdAware Forum gives good instructions, which I found out by not fully paying attention when deleting the PT stuff. BTW - it's probably "best" to run all scans offline and in Safe Mode.

BANG!!!!

Trip leased and reissued a WHOLE bunch of Mercury/Emarcy sides in the mid-70s. The best Mercury could come up with (a little later, iirc) was a series of 2-fer LPs, some of which were more or less complete, and some of which were just nice-but-basically-useless compilations. It got better as it went along, but Trip was in the mix first, I think. And buddy, let me tell you how exciting those Trip things were at the time. The vast majority of the Mercury/Emarcy catalog had been OOP for too long to remember, so these things were COOL! Fantasy/Prestige/Milestone was the first company to do the 2-fer thing, and they had great success. Within a few years, Savoy (by then owned by Arista, and then, later, Muse) and Verve got into the mix. Columbia was on and off with the notion, but mostly off.

Anotehr good example from outside the Miles orb would be Jan Hammer before he cheesed out. There's not a whole helluva lot of difference, if any, between what he played with Elvin and what he played with Mahavihsnu. Only the setting was different.

Galas? Some, not much. I got my own screams to channel, if you know what I mean... But I stress - THIS is not like THAT. Flip side of the same coin, though... Those other recs sound cool. I'll check'em out. Thanks, VC!

My god, does singing get any more honest than this? A collection of material from Waters' own personal collection, this set includes a 1964 Jax Beer jingle (w/Joe Newman!), a 1963 demo session for Columbia (produced by Tom Wilson, whose between-take chatter is priceless, a 1960 cut recirded in San Diego (when Waters was still singing, quite well, too, in a "traditional" "torch song" style, and, the real news, pieces recorded in 1970, 1971, 1972, and 1979, years which Waters was allegedly "lost" a la Henry Grimes. The material is a collection of standards and originals. The latter are very, VERY personal in their lyrics. Some might even call them obsessive. They focus on lonlieness and love for somebody who's not there any more (possibly Clifford Jarvis?), and they are at once compelling and disturbing, although Waters' delivery is very, VERY low-key. There's also a long solo piano piece that is simply beautiful. Nothing at all "difficult" about it, but the timing and the sensitivity of the playing makes it difficult not to get pulled in/wrapped up in it. Highlight of the disc for me is a version of "For All We Know" from 1979 - just a vocal-piano duet (all the vocal numbers save for the Jax thing, are piano (either Waters herself or somebody else) and vocal only). This song has a pretty intense lyric anyway, but Waters sings it with a mixture of resignation, sadness, loss, and quiet (VERY quiet) desperation that is the definitive reading of it, at least that I've heard. There's none of the groundbreaking extended vocal techniques of the ESP albums, btw. This is just a collection of songs by a woman who sounds like she's been there and back, and if she hasn't yet begin to find all the piecesto put back together yet, she definitely knows what it'll be like when she does. IF she does (and reports are that she has, thank God). Certainly not for everybody in these less-than-vocalist-friendly parts, but those inclined to get into singers and songs that are totally devoid of artifice and cut straight to the bone of what's going on inside are advised to check it out. It's frighteningly intimate and vulnerable, at times maybe even "unhealthily" so, but I can handle that. BTW - There's a nude photo from 1970 inside the booklet. But it's not nearly as naked as the singing.

Dude - watch her show with the sound off. From start to finish. It is mesmerizing.

Yeah, but just the WORLD TOUR set and MY PEOPLE. Couldn't handle the Syndicate albums on Columbia AT ALL, and blew the whole scene off for many years. But those two are mighty fine afaic. Also been getting into the live Weather Report set. More "blowing" on that than on the studio sides, and you can hear the link really good there too (obviously, given the players involved)) "Fast" and "flash" are not always synonymous, and neitehr are "fast" and "empty". Plenty of solid ideas going on in those minds and in that music more often than not, if you can get past all the electricity and "nonjazz" rhythms. Actually, it's the rhythms that appeal to me as long as they stay loose and not too "rock-y". It's a fresh coat of paint, imo, and much more reflective of "the world today", if you know what I mean. Just my tastes, though.

I "like" it, but it doesn't seem to stick for me. Kinda like there's no "there" tehere, like somebody (Dorothy Parker?) once said about someplace. Certainly respect everybody involved and the music iteself, but I guess I just don't vibrate at that frequency.

Can the fence be moved to a neutral location?

Dude, I'm tryiing to come IN!

Chuck, I can get you one of these, if it'll help.

Not a Cole Porter fan, eh?

Thanks! When did this happen? [edit - never mind, just looked at my count. Musta been a BFT post]

Oh, I'm not at all skeptical that it could be Bennick. Can't think of anyone else it could be. And I know about his history as an excellent "straight ahead" player. I just didn't know that such an encounter had been recorded and was floating around in the "collectors zone" But now I do (maybe...let's see the answers....). Gotta love the Internet!

Great minds think alike, I see.... But are we right? I'll be damned if I can imaginge any AMERICAN drummer playing like that w/Sonny in the 60s (the guard is WAAAAAYYYY let down), nor can I think of any other European drummer who would have the GUTS to play like that behind Sonny at ANY time. I know Sonny toured w/a trio that included Alan Dawson in 65(?), and Dawson COULD do this kind of thing, maybe, MAYBE, but it's kinda like having lunch with Jesus while he's passing through town and feeling comfortable enough to chug a beer, burp and ask him how he got those scars on his hands, ya' know? Like I said, I can't imagine any American drummer in the 1960s going there. Too many socio-politico-etcetero things in the air then for that to happen. Besides, this was before cats knew that somebody like Tommy Campbell could/would get hired for Sonny's gig...(no disrespect to Mr. Campbell, either, fine player, he was Newk's drummer when I had that magical levitation experience. But hey....) Wasn't aware of a Rollins/Bennick gig amongst the archives, but one never knows, do one...

Ok.... Herbie, Jeff Littleton/Dave Holland/Kenny Davis, and Gene Jackson? http://www.drummerworld.com/drummers/Gene_Jackson1.html

WHOA, dude took a HARD left, I see... Pretty sure it's the same guy who wrote the review.