JSngry

UH oh, here comes trouble... http://images.google.com/images?q=%22sexy+...&oe=UTF-8&hl=en

No, GOOGLE. Maybe I should turn the Moderate SafeSearch feature off and see what happens...

An Edward Hopper exhibit, THAT's the ticket!

Good stuff indeed. And STRONG seconds for the Wild Magnolias, as well as the other Mardi Gras Indian musics. A fertile field, that is, with deep grooves aplenty and lyrics to keep you wondering. Bo Dollis RULES!

Well, that's different, then. I wish you'd have said so from the beginning. Just know that the board as a whole tends to be more "conversational" in tone, and your initial posts seemed to be more "exhibits" than invitations to discussion. Also, discussion is more likely if you start a seperate thread for each album. Post your impressions, get responses, and take it from there. Just some constructive criticism, no offense intended. And apologies for my wiseass comment about Waldron et. al. I thought you were some pompous ass lecturing us Philestines rather than a kid working on getting his writing chops together. Wrong of me to assume that, but that WAS the first impression I got. Take that for what it's worth. Finding that fine line between going over your audience's head and "talking down" to them is part of the maturation process of any communicative discipline, and it's never in the same place twice. The problem with not knowing is that you don't know. You're showing uncommonly "advanced" tastes for a 19 year old. Carry on!

Oh, I can and will critique myself. And I can do it on this cut. Stick around. But if I gave TOO much information, people might have wondered about that, why I was SO analytical about that one cut and not the others, or if I went the "coy" route, that might have given something away as well. And if I said a little something somethin about every OTHER cut and just gave a curt "I have this" for one, well, THAT looks funny too. I know that Jim R is ALL OVER little clues like that! A lot of the people here know I'm in this band and that we have some CDs out, so I just tried to make my comment "blend in" with all my others, just gave some "general" impressions like I did for every other cut on this Test. Not really giving props to myself (you'll notice that my comment about my own playing is decidedly lacking in adjectives), but definitely to Lyles, Dennis, & Pete, whom I think are richly deserving. Tried to make it inconspicuous, and I think it succeeded in blending in well with the rest of my guesses, most of which, if you'll notice, weren't really guesses either. Just went with the flow of the moment, that's all. As for the "European" thing as it pertains to the drumming, I can honestly see that, because Dennis is a huge DeJohnette buff, and Jack did a lot of archetypical work on ECM. You can hear a DeJohnette-y quality in Dennis's playing, I think, so that's why I made the comment I did. Again, a totally honest comment.

Here we go. Talk about an uphill climb! http://www.rockclimbing.com/routes/listSec...nID=8263#R32260

http://images.google.com/images?q=%22sexy+...&oe=UTF-8&hl=en And that, Dear Friends, must surely be a mistake!

Fair enough, Dan, but where's the disinformation in this? Honest sentiments all, and no attempts at deceit or misdirection. I sincerely meant everything I said. It IS a gorgeous tune, Pete DOES play the melody superbly, I AM telling my story, it's NOT anything innovative, we DO try to be as honest and personal in our music as we possibly can be, and I honestly COULDN'T wait for the identity to be revealed. Not a speck of disinformation there, sorry. If prizes were being awarded, yeah, I'd have disqualified myself. But all we were supposed to do was give our honest impressions of the music, and that's exactly what I did. What impressions would I have had of the cut if I ahdn't been on it? I don't know. That's like asking me what goes on at my job when I'm not there. I don't know - I've never been there when I'm not there! And I really DON'T think we sound "European"! The joke for me came in Randy's poker allusion, becasue a "bit" of mine is "Musicians You'd Not Want To Play Poker With". Some examples: Coleman Hawkins - No way in hell to figure out what he's holding. Ben Webster - You COULD win some hands, but you'd be afraid to. Lester Young - You'd probably win ALL the hands, but feel so bad about doing so that you'd give him all his money back, and probably some of yours too. John Coltrane - Would never take the horn out of his mouth long enough to ante up, so what's the point? etc. THAT was the "joke", not my response in the discussion thread. Sorry for any misunderstanding.

This is that Mongo thing that Joe played for me. Guess only five cuts are live (from 1968), but Fortune is on fire! It's called Afro-American Latin, and was released in 2000.

So are people's positive misinterpretations of Hopper's work more valid than positive misinterpretations of Coltrane's late work, or should both be viewed suspectly?

WNMC, you're cool, man, just switch to decaf for a while. JUST KIDDING!!! Seriously, you make quite a few valid (I think) points. But so do others. It's the lack of acknowledgement of the latter that might create reservations about your motives. However, I do agree - there are some pepole who use music (and not just late-Trane, etc) as a "badge" of sorts, who like the idea of the music better than the music itself. I see them all the time when I play club dates. But there are those who really DO enjoy the music of late-Trane and that which followed in his wake, and they're not all musicians who understand the technical aspect of it, not by a long shot. I see them too. The phony and the real, you gots'em both. I just don't worry too much about it. I got bills to pay just like everybody else, and I don't have to respect somebody's motives to welcome their patronage. Sitting down at the bar with them, now, that's an ENTIRELY different matter. Suffice it to say that there are some nights when I willingly sit by myself, and other nights when I'm a freakin' gadfly. It's a big world, and we seldom get it all at once.

Yeah, I tend to be a tenor-centric S.O.B. Occupational hazard, I suppose.

Man, I wish I could read your site. Anybody who digs Bill Barron's HIGHER GROUND is ok by me! As for how we know about MP Jazz Forum, you'd have to ask David Ayers, who posted the link that started this thread. But if you know any posters over there who are interested, let them know about this site as well, please. The more the merrier!

Very good points, Mike. FWIW, MERRY GO ROUND employed piano as well as guitar, IIRC.

Welcome, Philly! Stick around and join in the fun. Is your site a retail site or a fan site? Eitehr way, like I noted earlier, your taste in jazz seems quite good!

Well, the "troll" thing is due to how you take whatever is offered as rebuttal to your points and view it as either a single exception to your truth rather than a legitimate counter to it (which is not to say that you're wrong, just that there's room for being both right AND wrong about the same thing, depending on where and what you're sampling) that might represent a single valid example of an equally valid larger whole, or insisting that the person who offers the rebuttal is misinterpreting the reality of what it is they're presenting, which seems to me to be setting up a "no win" scenario for anybody who disagrees even partially with you. Intentionally or not, that's the net result. But if I thought that you really were a troll, I'd not be having this conversation with you. I DO think that you're damn sure of yourself, and that's a good thing, to be sure. But I DO get the impression that you're not willing to entertain the possibility that your positions might prove less than 100% accurate when applied to ALL scenarios, and that, I feel, is possibly a case of the proverbial "having just enough knowledge to be dangerous". But I could be wrong. Maybe you just REALLY enjoy a rigorous debate and yield no ground unless absolutely necessary, even when you know there's validity in doing so. I'm getting old and tired, and that "style" of discussion doesn't much thrill me anymore, but I know those for which it does, and more power to them. Follow your bliss, as they say. But know that the number of doubts to be given the benefit of is finite for most people, and that giving it to others' input tends to increase the likelihood others giving it to yours. In other words, I don't think you're a troll, I just think you're possibly a bit rigid and theoretical, but possibly not. But you do your fair share of begging the question your own self, if not "technically", then definitely in spirit. But no big whoop - anybody who cops to a "high-pitched and squeaky" voice is all right with me!

Dude, if your point is that there's a lot of B.S, in the music/art world, on all sides, you're preaching to the choir. It's a fact of life. But like all facts of life, after one comes to terms with it, even if that coming to terms is at times difficult and shattters a lot of illusions (and it does, or at least it did for me), then one moves on and goes about one's business, aware of the B.S., but not letting it ruin an otherwise nice day. Kinda like billboards. I strongly suspect that those who need to know will, sooner or later; those who don't never will; those who should but never do become professors, and that those who would like to know but don't really need to end up as critics. As a rule. Of course, this being reality and stuff, some people inevitably slip through somebody else's cracks and get more (or less) than what they expected. Messes up the stats and stuff, but that's life. Bleesings and curses, ya' never know which it is until it's too late! I can't believe I'm responding to this. You seem so much like a troll, yet I don't think you are. It's just that your grasp of things is so CERTAIN and that you're correct as far as you go, which I personally think is just far enough to be dangerous, but then again, it's your life, so dance with the one who brung ya', and Bon Bal!

Just what I need - more voices in my head.

No, that's that Matthew Bodine, the hilbilly movie star, and son of Ravi Shankar's hairdresser, Kenna Combovver-Aftadinna. Confusing, I know, but I got this damn 100 year old parrot squaking at me while I'm trying to think. YOU try it! So, this bird is 108 years old? And spent how many years with Churchill? So much for the harmful effects of secondhand smoke!

They got a cat named "Philly" who looks like he has really good taste. Check out his own site: http://mypaper.pchome.com.tw/news/bluenote27/

DAMN! I thought the guy was going to point us to good deals online. Oh well... So anyway, this "Quest" band, this Mel Walton guy with Eric Dailey and Booker Irving, are they touring? Maybe if they had a video I'd know who they are.

No doubt, since Farrell was also a very busy session musician during the same time. That's the very nature of that beast.

Yeah, it's Farrell. The liner notes on the LP say so, and liner notes never lie. See my comments above about "Elvin Tenor Vocabulary". This is a good case in point. Listen to George on the rest of the album, and listen to him w/Miles, or anywhere else and you might hear what I mean. Now, there's a near-classic version of "Laura" on an Enja album of Elvin @ the Village Vanguard w/Coleman & Little (and on "Mr. Jones", Hannibal on trumpet). George plays his ass off, and his vocabulary is laced with many of the same licks/devices that Farrell uses here. It's the "New York Tenor" sound that became the de facto way to play for generations of young players, especially those who had a "jazz education" background. If that implies a certain similarity, so be it. Coleman and Farrell are both strong, personal players whose work stands on its own merits, but I think you can see in a cut like this the beginnings of the stylistic homogenization that lay not too further up the road. And yeah, I still love this cut and this (and those) albums. It's what they led to that I have some ambivalence about. But that's certainly not the "fault" of anybody heard here!

http://musicpower.080.net/~musicp/bbs/show...3?threadid=2857 Somebody needs to tell them that she's Ravi's daughter. They don't seem to know.