JSngry

The stereo mix is cool for study purposes, bit the mono is the "real" PET SOUNDS. No sense in pretending otherwise! Just my opinion, of course.

This link still works for now. I use it as my default window to go to other sites when I don't want to leave the web window I'm working in. Since there's nothing of value in there, it serves it's purpose well. http://www.bluenote.com/bulletinboard/ubb-...i?ubb=get_daily Don't ya' just get all misty-eyed just a-lookin' at it?

I've been looking for solo organ Gospel records for YEARS, but with very little luck. More information, please, including how to order this material!

As far as I'm concerned, any style is ok to use as a basis, so long as you do something, ANYTHING, interesting iwith it. This is where Alexander fails miserably in my book, but that's just my opinion. I certainly don't think that anybody has to "defend" their like of him. Geez.... Hamilton is a different matter. I very much felt about him for a good while the way I do now about Alexander - good player, but damned if I know why I should care. The world's full of good players, so freakin' what? But about, I dunno, 5-10 years ago (I don't buy the records, I just kisten to the radio), I heard him starting to mature, and the process seems to have been continuing. To put it bluntly, he started being interesting to me, he made the case as to why I should care. Not profoundly or overwhelmingly, but enough to where when I hear his name on the radio, I now listen in anticiparion rahter than in dread. That's what I need - a personal connection, something in the music that speaks to me personally. Mr. Alexander has yet to hit that mark. I hear enormous amount of practice time in his playing, but next to no life, and believe me, that's a difference I can appreciate. It all sounds like shop talk, and he's not telling me anything I don't already know or in a way that gives me a reason to care. Hamilton has. No, he's not playing anythig new. But he's developed a voice that has developed enough nuance that even though he's telling the same old stories, he's doing it with enough of a personal twist that I enjoy hearing his take on them. \ That's good enough for me!

Wanna trade mother-in-laws?

BINGO!

Great story, Marty!

Charles appeared with the band and was featured on one of the two numbers they played. They gave him pretty good camera time. They were in their uniforms. Would love to find a copy of that show! Gary Thanks for that info, Gary. I'd love to see it too. Any chance that some military archive might have a copy of that show? That's a long shot, I know, but stranger things have happened...

It's White American Suburban Spiritual Music. The best of it anyway. Those of us who "get it" get it deeply, it seems. Those who don't, don't. No biggie, either way. Are you in touch with your Inner American Suburban Whiteness? You gotta locate it and embrace it before you can truly let it go, ya'know! To be "more than", one must have a firm grasp on what one is to be more than. Brian transcended it by being it as much as it could be been. It's true! (of course, if you're not white, American, and/or suburban, uh...never mind )

Dude - Elvin BUILT the building! (one wing of it anyway...)

Hi Gary, great to have you here! Did Charles do the Sullivan show w/that Army band, with somebody else, or as a single? The mind reels!

Fair enough. Myself, I find the "unreal" sonic canvass of cats like Spector, Wilson, Joe Meek, etc. enhances the overall effect of their music (or more precisely, their music of that time - I personally think that LOVE YOU is a great album - totally nutso, but great nevertheless - and it's as pristine and detailed as you want it to be). The music wasn't "real", it was fantasy, and all that blurring of the detail adds to the effect, in my opinion. The case can certainly be made, though, that PET SOUNDS begins as fantasy and ends as cold, not-at-all-pretty reality, so the "wall of sound" biz either works for the listener as part of the overall poignancy of this most poignant song cycle (holding on to one last drop of innocence while at the same time bemaoaning the loss of it) or else it doesn't work becasue the production doesn't fit the material. I'm in the former camp, but not militantly so, not by a long shot. There's also the matter of "sound for it's own sake" and the conceptual parallel between the Spector approach and what was going on in other avant-garde musics of the time, but I fear I've already exceeded my geekiness quota for the day, so fuggedaboutit! Although, having said that, I DO think that the details of PET SOUNDS bear close scrutiny. There's some most interesting things going on in those tunes, a HUGE amount of detail that matters in a musical way in a fashion that few pop albums have ever contained, and you CAN hear it. But you gotta work at it, and since when was pop supposed to be work? Still, at the end of the day, put me down in the "fine as is" camp for PS. The sonic whole of "I Guess I Just Wasn't Made For These Times" IS a big muddy mess, but that's what the song is about, so it works for me in that way. If you want to hear the tracks by themselves, there's always the PS box, but in all honesty, that's for fanatics and scholars only. But I have it and dig it anyway.

INDEED!!!!

Frisco is one step ahead of you, bro. http://www.superdrome.com/

Eric, do you dig Phil Spector?

Stubblefield is TOTALLY wack on this one: Highly, HIGHLY recommended.

Not too crazy about Mantovani either. Dig the shit outta Jimmy Rowles, though. Go figure.

Not for me. Not at all. Hell, I dig Brian Wilson, George Jones, AND Warne Marsh. Not too crazy about Elton John, though.

It would have been less obsure with this cover.

Feel free to move this to the Live forum if desired. I'm thinking it might get more profile here, but whatever. http://www.ejazznews.com/modules.php?op=mo...order=0&thold=0 John Stubblefield Fundraiser June 2 at Sweet Rhythm in NYC Posted by: editoron Thursday, May 20, 2004 - 07:24 AM Affectionately known as “The Governor,” tenor saxophonist and composer JOHN STUBBLEFILD was born in Little Rock on February 4, 1945, Stub joined the Association for the Advancement of Creative Musicians (AACM) after moving to Chicago from Little Rock. He is an in-demand teacher, having lectured, led seminars, and organized workshops at many universities, colleges, and festivals, and worked with “the Jazzmobile.” After moving to New York in 1971, he played with the Collective Black Artists big band and Mary Lou Williams. He was also in groups led by Charles Mingus, Thad Jones/Mel Lewis Orchestra, and Tito Puente. In 1972 he played a free jazz concert at Town Hall with Anthony Braxton and was featured with him on an album of the same name. In 1973 John recorded with Abdullah Ibrahim and worked with Miles Davis - and later recorded with him in 75. His credits also include such major artists as The Mingus Big Band, Gil Evans, McCoy Tyner, World Saxophone Quartet, Kenny Barron, Freddie Hubbard, Nat Adderly, Jerry Gonzalez And The Fort Apache Band, and George Russell. Concert reviews attest that Stubblefield is a “powerful” and “irresistible” soloist who has stood out with such ensembles as the McCoy Tyner Big Band and the Mingus Dynasty Big Band. While still young in Little Rock, he discovered Don Byas, the great tenor saxophonist with the Basie Band. Byas had married into a Little Rock family. Some years later after leaving Arkansas for Chicago, Stubblefield connected with the man he says is responsible for inspiring him to take up tenor. Another musical force in his life was another Arkansas resident William Grant Still. Although Still was a symphonist and chamber music composer, his themes are rooted in spirituals and blues; he was a master of clear melodic expression and deep feeling. Stubblefield has had his own quartet since 1980, and his first album as a leader was Midnight Sun in 1976. In addition to dozens of albums and CDs as a sideman, he has ten releases as a leader with his most recent Morning Song in 1993. This concert at Sweet Rhythm on June 2 is being done to raise funds for John Stubblefield who is hospitalized and gravely ill. The John Stubblefield Fundraiser Wednesday, June 2nd, 2004 8pm - 11pm Sweet Rhythm, 88 Seventh Avenue South (Bleeker/Grove) Phone: 212-255-3626 Featuring: MINGUS DYNASTY / JOE LOVANO / GEORGE COLEMAN / KENNY BARRON Host: TODD BARKAN DONATION: $25

I doubt that it's truly "essential", but it came and went on CD quickly enough to still be considered "obscure", and I find it to be very much a "classic" on its own terms.

http://www.brianwilson.com/news/

True or false, dead or alive, this is totally brilliant.

Definitely a worthy addiditon! Unlike Dan, Garrett made a huge impression on me the first time I heard one of these albums (don't remember which one). I was hanging w/a friend who was doing a Saturday night FM jazz show, and he put whatever album it was on. I was grooving along nicely until the alto solo brgan (and be forewarned, KG's solos are basically "cameos" in comparison to those of the principals). "Who the fuck is THIS motherfucker?" I distinctly rememeber saying (well, shouting, actually...) after just a few notes. It was my first time hearing Garrett, and he didn't sound like ANY other altoist I had ever heard. This was around the peak days of the "Young Lions" hype, and somebody playing in that style with a totally original sound (yeah, his lickage was Wayne-ish, but that TONE!!!!!) was the last thing I was expecting, but there it was. Can't say that he's since consistently provided the same excitement for me that he did that night (there have been moments, however), but I immediately took note of the name, and have kept an ear cocked for his work ever since, one of the very few players of his age and genre from that time that I do so for. So, don't buy it expecting to hear a lot of Kenny Garrett, but do know that his contributions are consistently excellent (if you dig his thing), a very tasty icing on a cake of already above-average quality. Freddie & Woody are in prime form.

New York. Because I'm a sadistic S.O.B.