JSngry

Same here.

Oh, it's art ok. But it's also silly as hell.

Any show that had Franklyn Ajaye as a writer had an advantage from the gitgo. I loves me some Miss Jenkins!

TWO Johnny Rivers? That cat continues to enigmafy!

Yeah, ultimately it's all about expanding the palate. A new "style" comes along, fresh at first, and then gets standardized and finally played out. People scoff at it for a while, eventually wake up to the good points that made it interesting in the first place, and finally come to incorporate those points into their listening/playing palate. Why anybody under 50 (an arbitrary age to be sure) these days should have a problem in principal with electronic/electric instruments and/or rock/funk rhythms as part of the overall pallate of jazz is beyond me. Those things are all part of the fabric of our lives, and if you can't use them without setting off a firestorm of an ideological contoversy just because you used them, well, that's just fucked up. The same is going to hold true of hip-hop. Get used to it, becasue if it was going to be just a novelty, ti would have disappeared a long time ago. It hasn't, it's here. Make your peace with that, becasue as long as young folks continue to produce new jazz that's not entirely re-creative, there's going to be some of that sensibility present. GOTS to be. Life - use it or lose it!

Roost.

He/She was on Letterman about 7-8 years ago. Supposedly he announced Teddy Kotick as Teddy Kotex.

But once you're deep enough in the groove it's unnecessary to go anywhere else! That's kinda the point. Funk is its own reward. OTOH, there ARE other places to go, and there's other roads to go there on. Options are good, But thenagin, electric Miles of the 73-74 vintage pretty much went anywhere & everywhere it wanted to, and was deeper in the pocket than last week's lint, so perhaps the options are as limited as the imaginations and souls of the players. The number of people who can TRULY get on the one is a lot smaller than is comfortable to admit - EVERYBODY, it seems, thinks they're funky, and it just ain't so. Everybody's "funky", sure, but not everybody's FUNKY. If they were, Zig Modisette would be just another guy, and that just ain't the case! I dunno, the only thing about fusion that ever bothered me was when it got to be "product" and/ot masturbatory, which seemed to be most of the time as the 70s wore on. But as to whether or not it's still alive and/or has relevance, hey zeus Crisco, how you gonna live in a world that's nearly fully electric and fully digital and NOT reflect that in your music w/o coming across as some hopelessly naive idealogue or an old guy from another time. Not that fusion is the ONLY way to reflect that world, but the notion that "jazz" must not include certain tools, and/or MUST conform to certain stylistic traits/fetishes is going to kill the music deaddog dead, if it hasn't already (protestations to the contrary, I say the jury's still out on that one, and the doctors are still working overtime to save the patient). Trying to pretend that something didn't happen (or shouldn't have happened) is not the same as going back in time and actually preventing it from happening. Blanket attempts to discredit fusion's legitimacy as an input to the jazz melting pot are about as realistic as insisting that color movies were a bad idea, and only half as wise. Or less. Let the music be what it wants to be, whatever that is. Let the music be what it NEEDS to be, whatever that is. Otherwise, stuff it, mount it, charge admission, hire a tour guide, and sell souviners on the way out. Sound familiar?

Is it going to be loud?

Huh?

Damn! I was hoping it was from when he was a member of Ken Moore's Craftsmen...

Not sure about the bodies, but they definitely used the "lipstick tube" pickups. From what I can gather, those old Silvertone guitars have a cult following among guitarists.

Sam was travelling in different musical and social circles. Sam's got a lot of "formal" training, and Ornette is self-taught. Sam's always essentially been an inside player who grew out. Ornette's pretty much always lived in a world of his own. Sam's extremely urban, and Ornette is country. T-Bone Walker would have been their only common ground, stylistically. Not to say that Sam didn't find inspiration in Ornette, but he might very well have thought that Ornette wasn't showing him anything he didn't already know. Sam's always come across as a man whose pride and independence are pretty substantial. But, yeah, you'd have thought that their paths would have crossed once or twice. but then again, they had "competing" lofts, Prince Street & Studio Rivbea, so maybe the opportunity never really presented itself. Good question!

I must most respectfully most disgree!

I'm sure it's "original", but that's not the same as contemporaneous, dig? Besides, if the text is the LS psalm, and the poster really had the foresight to realize just how iconic it would become, you still gotta wonder about giving the date like that. That seems extremely "after the fact". if you know what I mean. OTOH, it could be a product of the Church, and as such would not be without some "collectablity".

Gotta remember, Sam's a lot older and from Boston.