JSngry

Yeah, but I'm not sure if fucking them is.

Yeah, baby, I've been smokin' what Art's been smokin'. It's called Life, and I take it unfiltered.

In a few years, Paul Simon will dump Edie Brickell for Norah. Edie will move back to Texas and form a country-jazz combo, which will then be signed by Blue Note. Simon, wondering just what it is about those crazy Texas chicks, sends Art Garfunkel after Brickell, Edie refuses, but gets Art hooked on Bob Wills, and her skinny but sexy ass. Norah, feeling that her territory has been usurped, dumps Simon and take a gig with Asleep at the Wheel. Norah & Edie cross paths at Kerrville, a cat fight ensues which is caught on videotape and shown to Vince McMahon, who signs the two to WWE contracts. Simon, looking for a label responsive to his jazzy pop stylings, signs w/Blue Note. Garfunkel stays in Texas and writes poetry, which is set to music by Norah and released by Blue Note after she leaves the WWE when Edie is caught shoplifting Simon's CD from a Wal-Mart in Uniontown, Pa. Eventually everybody dies and nobody cares. Isn't that how it always goes?

He's THEIR Musicboy now!

Sometimes a sound is just a sound, you know?

The most amazing thing on there is a review by "Charles Davis from New York, NY". Charles Davis?

Well, Cm (Maj 7) to be precise, with the (Maj 7) in the "superscript" position, you know, up and to the right. Some guys will use a triangle instead of the (Maj 7), but that only works if their manuscript is halfway clean, which is far less than a given.

I would, yeah.

Ditto. Keep an eye on Dusty Groove. It pops up there VERY occasionally. Pay what you have to. You'll survive. A friend of mine e-mailed Alvin Queen & asked him about this one, and for some reason Queen's not interested in getting Nilva vinyl out on CD. Makes no sense to me, but that's what he told my friend.

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?