JSngry

Incoming!

PD is cool with me. He's a character, and proceeds accordingly. I like characters. Keeps life real.

Monk Blue Note

Well, ok. It's NOT about the dick-sucking, at least not literally. What it IS about is how the ratio of expectations met to expectations not met can do different things to different people, depending on which are which. Larry, you're definitely right about the change in concept that Miles underwent. What fascinates me is - why? Why did Miles go from being Miles Davis, interesting and disntinctive bebop-rooted trumpeter, to MILES DAVIS, the man who eptiomized jazz trumpet for so many by defying nearly all of its "obvious" conventions, conventions very much rooted in "traditional masculinity" yet at the same time reaffirming them in totally "non obvious" ways? Seems to me that Miles for a while was looking for a way to "traditionally" in a "non-traditional" way, and then for some reason flip-flopped in his approach - he began to play "non-traditionally" in a "traditional" way. What happened? And why? The thing with Miles is - what are you getting? Are you getting masculinetoughassertivedemonstrativeunambiguity or are you getting femininetenderpassiveunderstatedambivalence? Or... Are you getting both at the same time, in equal, indistinguishable measure? And... If we're not sure just exactly what is is we're getting, why does it feel so good to so many of us when we get it? What is it about unorthodox orthodoxy, about ambiguous definity, that attracts, thrills, even, so many of us? And how/why was Miles able to tap into that deeper than most anybody else? Surely it was a conscious decision on his part. Was it about personal liberation or hedonistic egotism? Or both, at the same time? Hell if I know...

This is the book you'll want to read, by Rob Bowman: An amazing book, in its own way.

Ooooh, but that overlooks several crazy postwar things he did for RCA with a vocal group that didn't function as a vocal group but as an intertwining melange of sound. Kinda like the vocal breaks on "Dance To The Music", only not.

How very girl is she?

I hear you. Sometimes, SOMETIMES, I hear a "similarity" in his things that makes me realize why working with/for Duke was a blessing for both of them. But putting that "similarity" aside, the guy's sense of color and texture through both voicing (the actual notes played) and orchestration (the combinations of what instruments play what notes) remains mind boggling to me, moreso than Duke's, really, and that's saying something.

What? Put him to work at Dusty Groove?

Sorry, can't get w/THE PEACEFUL SIDE yet, still trying after a lot of years, but that's an exception. How 'bout the Duke/Strayhorn quartets? Is that stuff wack, or what? Strayhorn, I think was a very specific color (or more accurately, set of colors) in the overall Ellintonian pallate, but those colors were primary for over a quarter century. The Strayhorn dissonances are dissonances in "name" only!

Well, I see my Marsh cd (at 78:14) ties for 97th place. I also see my lp version of "People In Sorrow" makes the list of 150. Why am I broke? Because it's a world gone wrong?

My MASTERPIECES Lp is a green label Columbia Masterworks. That's what I'd like to have seen them use!

Duke never met the corner he couldn't get out of.

Played a gig a while back w/a drummer passing thru town on his way to work a Herb Jefferies gig at some ranch in Colorado. You ever see how he works his jawbone when he sings? WTF!

To come back with a vengeance only to be screwed again, this time fatally, by Union Planters Bank. Stax was the real deal. God bless'em.

I think it's interesting that the criticisms, misgivings, whatever that many people have about Miles' trumpet playing (lack of "traditional" technique, a tone that is "anti" the norm for the instrument, solos that, when transcribd, seem to be made of nothing too deeply grounded in the changes, "sloppy" technique, etc.) are quite similar to those levelled against Lester Young, as are the praises and reasons for admiration, that's what I think! Thing is, tenor has a built in sensuality to it, and trumpet is a MANLY instrument. Archie Shepp might have called the horn a phallic symbol, and properly so, but the axe is intrinsically hermaphroditic in both shape, tonal potential, and social character. Not so the trumpet, the descendant of the bugle, and, further back, the ram's horn, the instrument used to issue clarion calls for MEN to go to battle, to signal MEN that it's time to spring into action or end the day, to let MEN know that royalty is approaching, etc. And men have been bred and conditioned for centuries to be MEN, with absolutely NO room for uncertainty, ambiguity, or anything even remotely intimating that one's grasp of/on EVERYTHING concrete is anything but enthusiastically firm. "Playing between the cracks" of manly timespacesound might lead somebody to think that you'll play between some other manly cracks, and sound for the sake of sound implies a passivity to "let it be" that goes contrary to the traditionally manly "making it happen". A brave man has the confidence to go there anyway, becasue the only truth is found in resolving ambiguities, either through action or internal digestion. Real men don't DO that, especially Gabriel(s). If you were blindfolded and otherwise cut off from your senses, would you be able to tell who was sucking your dick? If you could be certain that you would never, EVER find out, would you even care? If it takes you less than one second to answer that last question negatively, you're probably not a Miles fan, and if you can ever answer it 1000% definitively one way ior the other without actually knowing from experience, you're DEFINITELY not a Miles fan. But if you have to admit to yourself that you just don't know... This ain't all about anonymous dick sucking. It's not even a little about anonymous dick sucking. It's not AT ALL about anonymous dick sucking. But it made you think, didn't it. Think about that. You all think about that.

I dunno man, I'd have to A/B it, but the thing sounds EXACT from my memory.

Is (was?) he related to Valerie?

Anybody else hear this? You know, the intro to the retitled "Haitian Fight Song" thing on MINGUS MINGUS MINGUS MINGUS MINGUS?

To get a time machine, go back, getcher head outta the political forums for a quick minute, catch this thread from the beginning, and pre-order from CD Universe. Too late for THAT! Seriously, if you look at Alan Lankin's page (and if you have to ask what that is...), there's links to preorder all kinds of jazz stuff, ALL kinds, from CD Universe at what is probably going to be your best price short of getting promo copies. Plus, you're helping one of our own out by the clickthrough. Charity begins at home, and all that. Wait a sec - how do I know you're the REAL Johnny E?

Oh $hit. I wa$ afraid you'd $ay that.

Oh yeah, Sarah! It's kinda cruel, I suppose, but I think Floyd got hipper (as a character) with every stroke he had.

Mine shipped yesterday.

Inspired by this thread, I finally sucked it up and ordered the Sharon Jones & the Dap-Tones CD last night, If this stuff is as good as I keep hearing it is...

Juanita worked at the diner. I thought that Juanita was the operator. No?