JSngry

The voice.

Not sure, but besides the stuff originally on Atlantic in the 50s there was a 2-LP set of additional material out on Atlantic in the 70s (or early 80s, can't remember) that I picked up on a cutout cassette and have played some of the high frequencies off of over the years. So an upgrade was overdue, for sure!

If you get good players playing good charts, you'll almost always get good music, no matter what the instrumentation. Of course, when it comes to string dates, that's easier said than done, but it's a lot easier now than it was back in the day. Writers and players have both gotten hipper to the trip. But I love me some good string writing.

Which is exactly why it's the most accessable!

!. There's nothing wrong with this album. Buy it together w/LOVE CALL and get your groove on. 2. VIRGIN BEAUTY is perhaps the most accessable, but DANCING IN YOUR HEAD is the archetype, and TONE DIALING is a (possible) blueprint for the 21st century, so take your pick.

Robert Griffin.

Frank Motley.

Might have been less hassle to have one soprano hidden in the closet...

No saxophone, just a bell tree made of hubcaps.

One less TKM. I have all this stuff in various formats, but the chance to have it all under one roof on CD, and the chance to have Mr. Kart's truly formidable essay always at my beck and call finally got up the gumption and told my practical side to take a hike, and it did, surprisingly easy at that.

Lots of people USED to. It was originally written as a waltz, if my Jurassic-era fakebook is to be believed.

The faster tempos usually end up being thought of as being in 6 (probably becuse it's less taxing menatlly to count to six once than to three twice at a fast tempo), the slower ones in 3, but I guarandamntee you that if you're playing for dancers and they want A WALTZ that you better think, feel, and play it in 3 and nothing else no matter what the tempo. It DOES make a difference!

Is Joachim Kuehn related to Harvey Kuehn?

I grew up close to Longview, Tx, home of a now-Stroh's, then-Schlitz brewery, had lots of family friends who had a brewery gig, and I can tell you that Old Milwaukee is (was?) simply Schlitz made with less time, care, and quality control. Take that any way you want.

Sorry, time was (and is) short. But... Depends on the tempo, the feel, the phraseology, all that "internal" musical stuff. A lot of marches are actually written in 6/8, but felt in 2. Similarly, a lot of blues are more or less in 12/8, but you feel the beat as a slow 4, at least listening to the bass line. And 3/4 in no ways needs to always be a waltz. So - yes and no. Lots of variables - don't let the math fool ya'!

Dr. Pepper!

Yes and no.

More proof that Dallas sucks.

Both are fine with me, but I'm much more familiar w/Ayler. I dig where Parker's coming from, though, and what he's doing. It's more of a "niche" type thing from what I've heard, but it's a niche he occupies comfortably and commandingly. Plus he has the distinct advantage of still being alive...

Sure would like to be on the bus with him!

I've had some rather serious distractions that have kept me from posting my guesses/critiques/whatever. In case I don't get to it, let me say that I enjoyed every cut on both discs, recognize a few cuts, can concretely identify a few less, and had a blast listening. Thanks, Jim!

Hampy Bimpday!

People dance to it like it's a waltz, but musicians play it like it's in 6. Great song, actually. A lot more fun to sing harmony on than it is to listen to.

I usually don't like modern art...

The first three, and a fair part of CONSUMMATION. After that, Thad's writing seemed to get a little "heavier", and to no real gain. The real strength of that band to me was as a latter-day combination of Basie & Ellington - Basie in the way that you had a totally idyosyncratic rhthym section (Hanna, Davis, & Lewis were anything but conventional, especially in a big-band context) and a band full of strong soloists (the band had any # of players who could, would, and did stretch out to satisfying length at the drop of a hat) who worked in conjunction to defy the traditional big-band conventions of solo space vs. chart, as well as the rhythm section sticking to one groove during the arrangement and solos both; Ellington in the richness and textural variety of Thad's (& Brookmeyer's) totally unique arrangements. LAter on, the soloists often dipped a notch in creativity, and the arrangements seemed to become a bit formulaic. Not always (hell, you turn Billy Harper loose on ANYTHING and nuthin' but good comed forth), but often enough. Still, there are enough moments to make any Joines/Lewis album worthy of a checkout or three, I think. And live, they could still deliver the goods. I remember a PBS thing that I think I still have on a reel-to-reel tape in my closed (full of hum from holding the mike too close to the tv) that was damn fine, and the Muncih side on A&M/Horizon caught a nice groove too.