JSngry

Where does all this leave Skipper & Midge? Last I heard, they were crack-whorin' porn extras. Maybe now that Ken's free, they can get rescued from such a degrading lifestyle. He's a standup kinda guy, that Ken is, even if you have to hold him to make him so.

I really wish that Jimi & Gil could have made that album together, only I wish it would have been a few years later than it was supposed to have bee, when Gil got his electronic pallate totally happening. Can you imagine Jimi & George Adams doing "The Meaning Of The Blues" togeher on THERE COMES A TIME? Oh....My....God....

Is that a gun in you hand, or are you just glad to see me?

Listening to Gil's band behind Miles on that Robert Herridge TV show, you can hear the difference that "familarity" makes to interpretation. The player aren't reading the stuff cold in the studio w/the pressures of deadlines, they've heard the music for several years, and play it with a confidence and relaxed power that the originals, fine as they were, only hinted at. Now, speaking of Oliver, I'd give my next door neighbor's left nut (he'd not mind, I'm sure, and if he would, well, I don't much like him anyway...) to get BLACK BROWN & BEAUTIFUL out on CD. THAT is a masterpiece that's on the verge of being "lost", if it hasn't already been.

I always thought that Barbie was to Ken what Doris Day was to Rock Hudson.

Gil's music IS difficult. But when he had a band who lived with it long enough to get over that hump and FEEL it, Good Gawd what a treasure it was. Unfortunately, that didn't happen on a regular basis until the 70s. Other than SKETCHES, I think the things w/Miles require a certain "imagianation" on the part of the really astute listener to hear past the "difficulties" the players are often having (hardly ever MAJOR, but seldom fully in the interpretive pocket either. The nature of the beast when it comes to studio time, rehearsal time, etc.). But it's imagination I'm more than willing to expend, because DAMN what sounds that guy conjured up! The "problem" is not with the writing, I assure you!

A friend turned me on to this live trio date w/Kenny Barron & Ron Carter, with 6 standards, and an original apiece by Carter & Barron on London's Blow It Hard label. All accoustic, swinging, no-b.s. straight-ahead piano jazz of a very high quality. Barron in particular sounds freakin' GREAT, playing with a near-ferocious animation and imagination that some of his more recent studio work has lacked. Carter is Carter, but not irritatingly so. But the real surprise is Cobham. I've not heard him in a "pure" jazz context since his days w/Horace Silver (and the odd CTI date), and he sounds just marvelous. No flashy pyrotechnics, just good, at times Roy Haynes-ish JAZZ playing. This would be ultimate Blindfold Test Stumper material. Quite an unexpected pleasure, this one was! Info from Blow It Hard REAL AUDIO samples Don't know how hard this one is to find, but for fans of Barron, I'd think it would be worth making any and all extra efforts, as it would for fans of high-quality piano trio jazz in general. This one REALLY caught me off guard!

So, what would TUBA LP 5004 be? Anybody know? Is it possible that TUBA was a label set up to where the artists produced the dates themselves & Keepnews provided packaging and distribution? That might explain the co-production credits on the Lytle thing. Jamal had his own label for a quick minute in, what, the late 60s? Who gets those credits on the Mance & Jamal things?

Us Americans don't like to meddle in foreign conflicts....

Now you can have your tit and eat it too! http://www.amateurgourmet.com/the_amateur_..._jackson_b.html

Seriously, I'm a bit confused - Jim said that the tune in question was a minor blues. So is this G7 chord the dominant or the root of the song? Because if it's the root, and the rest of the song conforms to "typical" G minor blues conventions, then technically, what you'd have might very well be considered a Gmin7(b4). Wanna talk about Monet? Hold on, lemme go get my power sander...

I always love it when people try to analyze "black music" with "European" systems. It's like describing a painting with power tools.

Because we want gigs?

Dude, if you only knew how easy it was...

If you're talking pure musical complexity, things like orchestration, reharmonization, difficulty of proper execution, etc, Gil wins hands down. No contest. Although, Oliver's better arrangements are a lot tougher to play correctly than they sound on a casual listen. The guy's inner voicings were often quite unusual, and getting the right blend is a bitch. And sometimes, his lines took on some pretty tricky intervallic business. The guy did a lot of hack work, but don't be fooled - he was a heavyweight as an arranger. Duke's things aren't really difficult, but they are quite ingenious. He had a unique way of voicing, a very keen ear for color and texture, and could get more sound out of fewer instruments than most folks. A very talented man, whose arrangements, like Nelson's but in a different way, offer more than might first meet the ear. Dameron is an archetype. Nothing really "difficult" about his writing NOW, but that's because he's been copied so much that his innovations have become second nature for several generations of players and writers. We should all give thanks. Where's Thad? Look in the dictionary under "difficult", "insane", "off the wall", and "what the hell is THIS", and you'll see the same illustration everytime - a Thad Jones 2nd Tenor part.

What does "better" mean?

So how long has this "Atkins Physicians Council" been in business anyway, and who's backing them? I as because that diet's been around seemingly forever, and I thought it had been discounted as "risky" in mainstream consciousness, and then all of a sudden, a few months or so ago, it seems like everybody I know is talking Atkins, and then I start seeing the logo on foods, restraunts, etc., and now Subwy's pimping their Atkins Diet wraps and shit like that. I've never seen such a concerted effort to get a "name diet" burned into the collective consciousness. This is a propaganda blitz of the highest order. So, who's behind it, and why don't they give a damn that the diet is not necessarily a good choice for many people? I don't want to go "political" either. This is business, marketing, all that, and it seems to be incredibly effective so far. I'm just curious as to the hows and whys.

You ever seen Artis the Spoonman? Pretty amazing cat.

This label is news to me. In keeping with assertions that Bill Grauer played a bigger role in the success than given credit for, and that the same goes for Dick Katz in hte early days of Milestone, one is left wondering if Keepnews had a partner in Tuba, and if perhaps the lack of one explains the label's short life. Or not.

I always enjoyed and appreciated Mike's input.

Meet The Payroll? Isn't that Tim Russert's show?

Yeah, I know AMG doesn't list it, but that's not conclusive evidence by a long shot. Ask Michael Howell. I think I saw it on Dusty Groove once, or someplace. Maybe it was some other label and it just LOOKED like a Prestige side, same layout, same fonts, etc. But I'm pretty sure there's another Grasella Oliphant album besides the two Atlantics. Couldn't fine any mention of it online, but I did find this: http://www.libertyellman.com/dates.html Looks like the cat's got a weekly gig in Jersey, w/Harold Ousley on board, no less!

I dunno, really. A recurrent lyric in the big hit, "Don't Know why" is ""Don't know why I didn't come". I don't THINK it's about orgasm, but how do you not make the joke, except by exercising maturity and self-control?

Al, rooster's away from the board a lot these days due to personal business, but somewhere on this board, somebody said that if you click on the link in his post and start putting in different numbers at tthe end of the URL, that you'll get a different topic with each number. Tedious, yeah, but that's the best info I have to give.

Same thing, only different, if you know what I mean. Definitely not as "friendly" of an interaction as APOGEE, but plenty of good music gets played nevertheless. I wasn't surprised to hear of the tension.