JSngry

Frankly, given the state of the average bar's men's room floor around midnight, I think that there are many men should be encouraged to use this product as well...

Piano definitely, and some percussion too. Not necessarily drum set or anything like that, just a hand drum will do. And if she like to dance, get her some dance lessons, or at the least, don't discourage her from dancing anytime and anyway she wants to, even to the point of dance lessons, if you can find a scene that's not stickuptheass "formal". A "whole body" aproach to developing musically is something I've long thought about formulating, but alas, my lack of what I think would be the required depth of knowledge regarding the finer points of pedagogical theory and methodlogy intimidates me from doing so. But if a kid gets in "on the ground floor" with the root instruments of melody (and along those lines, let her sing all she wants to, and encourage her to incorporate her singing into her musical lessons), harmony, and rhythm, and makes, not just an "intellectual" connection between all that, but a concrete, "executable" physical one as well, how can they lose? I'm inspired by the various comments on African (and other) cultures that music is not a seperate activity, something to be done in a set time and a set place in a set way, but is instead part of the fabric of everyday life. The best musicians that I've known (and known of) seem to be in this zone as well. For them, life is music, and vice-versa. I have no illusions of turning suburban kids into African villagers, or of every kid who studies music becoming deeply intuitive about the vibrational structures of the cosmos, but I do think that the earlier that people get exposed to the fact that life is, when you break it down, vibrational rhythm, and so is music, the greater their capacity for creating and appreciating beauty throughout their life, even in mundane matters, will be heightened, and a lot of the stress and frustration that stems form living "out of synch" can be reduced. Harmody, melody, and rhythm - piano, voice, and drum. Get 'em young and teach 'em right, I say.

I have, and I'm loving it (always loved it, actually, but this is my first CD copy, and the bonus cut puts it over the top vor me, the same as for UNIT STRUCTURES. But I digress...). I'd call it "accessible", but I know that it won't be for some people. That's cool, too. Many peoples, many grooves, and it's all good (mostly). But if you can handle familiar elements taken apart and put back together in such a way that you know they're there (and sense that they're glad to see that you know that they're there), the "accessible" it is. I'm convinced that anybody who clues in on Andrew Cyrille on this side will eventually have whatever veils there are lifted - evrerything, EVERYTHING this guy plays is hardcore jazz drumming vocabulary. It's just that he's doing it all, withoug a net. What most guys would play as a fill or a kick, in other words, "something "secondary" to the "ching-chinga-chingaaaaa" of a ride cymbal, this guy puts to the front, and he does it in perfect sync with the group rhythm (which is predominantly triplet based, and we all feel triplets!). The result is a stripping away of the icing, and a total focus on the cake itself. The same holds true about everybody and everything else about this album - you've heard it all before (Jimmy Lyons alludes to "I'll Be Home For Christmas", and there's extended sections of the up-a-halfstep-and-then-back-down movement of "Sp What" for crissakes!) , just not put together like this. It's not "difficult", it's just DIFFERENT, like being inside a blood vessel instead of looking at one. Things go by faster, and you're a LOT more aware of all the inner workings, but dammit, you can still tell what it is, with the bottom line that what once seemed chaotic and/or hopelessly multi-layered now seems a unified system, because we all got blood vessels, and we're all aware of them. And yeah, sure, I've been inside a blood vessell, haven't we all? This is beautiful music, music that sings, and music that dances. Cecil Taylor - song and dance man extraordinairre. Nothing mysterious or esoteric about that. C'mon y'all, come get to this.

That Teo Debut session is warpedly WACK, and I mean that in the best way. Imagine Warne Marsh & Joe Mooney playing under early Sun Ra's leadership, and that's not too far from where you end up with this stuff.

CD BABY gets their shit out plenty fast. My order of Tuesday evening arrived yesterday. 15 CDs of Teo Macero, and the first two I've checked out (POP JAZZ & THE BEST OF TEO MACERO) are as diifferent as can be. The first is exactly what it says it is, with the distinct advantage of having expert players, arranging, and production hitting on all cylinders. There's more meat here than a casual listen might suggest, even if the meat is ultra-lean. That's just the nature of the beast, and to berate it for being less than what it intends to be while missing the point that it's a lot more than it could have been is a bit foolish, imo. It's stuff like this that could give Smooth Jazz a GOOD name! And somehow, for some reason, there's a really nice, straight-ahead, Lee Konitz small group cut tucked into the disc. The second is earlier stuff, and includes Maero's half of the Columbia WHAT'S NEW LP (w/Arft Farmer, Eddie Bert, John LaPorta, a.o.), often cited as the true birth of Third Stream, although to me it sounds like Mingus' Debut/Period stuff fleshed out by more horns and more writing, and flushed out by eliminating the Mingusian perspective and replacing it with the Maceroian. Besides that, there's a bunch of other stuff, the origins of most of which I can't yet trace. There is included, however, Macero's Debut date, which is not included in the Debut box, and which DOES have Mingus on it. There's also some stuff w/Lee Konitz and a string group, and some stuff that includes Bill Evans. Frankly, I knever knew that this stuff xisted, althoug I knew of Macero's "Sounds Of May" (included) vaguely, through reputation. There's soime fadeout/fadein seques STRAIGHT out of JACK JOHNSON in their methodology, only this was in, like, 1955(?). Pretty amazing stuff, actually. I thnk these recordings might merit a seperate thread if they all turn out to be as interesting and provocative as these first two. Nothing really "essential", but the kind of "parallel universe" music that is easily ignored as long as you haven't heard it. Once you have... So far, this $10 has proven to quite well spent. Let's see about the other $65.

Add Harvey Phillips to that list. Not a particulary stimulating improvisor, but as facile a tubaist as there is.

4perntohOH it is! You think Paulie wacked Ayler? I'd not bet against it.

If those are live things, they were likely done on cassette, the norm for the time as far as musician's recording their gigs. You can work wonders on them with today's technology, but only to a point, and "distant/cloudy" is a distinct possibility.

TreefittyFIVE!

LaManna is going down. The bet was not as to whether or not he went down, that's a foregone conclusion, it was whether or not he would make a move on Tony before he did. Whatsamatta, getting nervous? I might be persuaded to up the ante just a little bit, cause I don't think that treefitty's gonna cover the shipping on this badboy, and every penny counts!

MAN it's going to be mine!

Lennie White, but fear not. He came to play, and did.

I said the same thing in 1970!

You thought that the "bad" and "sexy" album covers were cool? Well, they were. Very cool, in fact. But time marches on, we all get jaded, and it's now time to venture into new territory, strange territory, territory that defies any and all expectations. Album covers are just the tip of the iceberg when it comes to packaging sound recordings and the potential for wierdness therein. Things you never imagined have in fact existed, and more importantly, been documented!!! So set the Bizzarometer to Maximum, and go to http://www.wfmu.org/MACrec/index.html Don't say I didn't warn you.

Yeah, and best served raw with mint leaves on the side. Yum! But it beats the hell out of "crape diem" (shit on the day), which has been the reigning m.o. in these parts lately...

http://www.redtrumpet.com/software/item.ph...&sid=1086944814 http://allmusic.com/cg/amg.dll?p=amg&uid=U...l=A7zeyxdkb8ola George Adams, Thad Jones, George Lewis, Stanley Cowell, Reggie Workman, a.o. Pre-Owned: Cover M-, Record/Disc M-; GF,2 LPs In Stock! $3.50!!!!! This is the shit. Carpe Diem!

Remind me to keep away from stairs today, ok?

What a bitch!

Absolutely.

A question I ask myself everyday. B) And it's frustrsting as hell, because how can you know what you don't know about unless you already know about it? Q: "Why didn't I know about THIS?" A: "Because you didn't know about it." Q: "Well, why not?" A: "Because you didn't know that it was there" Q: "Well, why not?" A: "Because you didn't know about it." and so forth. If that's not a good reason to drink, I don't know what is.

I used to have the same "problem" w/Hawk when I first started checking him out, but when I wasn't looking, it all fell into place fr me and I started hearing the other things in his playing that I still marvel at, notably the way that his tone fits inside his lines perfectly, and how even though his lines are predominately steady eith note oriented (but not as consistently as you might think, depending on the session), his accents and subtle-but-very-real tonal variations create a tension/release within those eight notes (and within his harmonic dissections) that is quite engaging once one becomes aware of it (and it's not always obvious, that's for sure). A whilke back, PD & I got into a discussion about Hawk, and I commented on what I percieved as his emotional quality, his stubborn refusal to display vulnerability of any sort, as well as the "mindset" of his playing, which I likened to a the type of person who enjoys taking things apart and putting them back together (and not always the way they were first assembled!), somebody who delights and finds satisfaction in the details themselves, not necessarily in the act of discovering them. In other words, a person for whom the ends mattered more than the means. I think that Hawks rhythmic style is a reflection of this "type". He seems to me to be so engrossed in what he's finding that how he's finding it doesn't really matter all that much to him. In less esthetically attuned hands, this type of personality runs the danger of analytical roboticism, but Hawk was a "classicist" in the very highest sense of the word - he didn't just enjoy the details for their own sake, but instead for the greater beauty and nobility that they implied. Again, means to an end, not means for their own sake (which is also a perfectly wonderful esthetic in, like any esthetic, the right hands, hands which appreciate and understand what's going on to the highest, most subtle, extent). It's all of a piece - look at how he dressed, always impeccable, "conservative", not flamboyant, but DAMN, every thing was of the highest quality, and everything was JUST right. Same with his reported love of fine automobiles - he seems to have appreciated the inherent beauty of a machine that both looked good and performed good, not as a stauts symbol, but becasue in his mind, that was the object of the game to "get it right" righter than as right as it could be given the tools at hand. Definitely the esthetic of the aforementioned "classicist", and that's an esthetic that's a bit at odds with a lot of things, even in his time, but still an esthetic that is impossible to find invalid unless one is willing to accept total chaos as the only valid perception of reality. All of that to say this - you have to come to, and ultimately accept, Coleman Hawkins entirely on his own terms, because that is how he lived, thought and played (or so it seems). That means that his relative lack of rhythmic variety is something that one has to confront and come to term with, not for what it lacks, but for what it represents, if one is to deve;op a personal relationship with the man's music. I'm in no way saying that you HAVE to love it (which I'm not even sure is the result from a istener that Hawk was looking for anyway) or appreciate it (which may in fact be that desired result), but I do think that doing so opens more personal doors than looking for something that was probably never intended to be there in the first place. Just my opinion based on my experience. Your mileage, of course, may vary.

That would be this one: An outstanding record and recorded w/an incredibly intimate sound. Definitely essential.