JSngry

JOE HENDERSON IN JAPAN might very well be Joe's best album. I know it's my favorite of his.

Thanks to all!

Thanks to all!

Somebody not pay their phone bill?

Roo bad you couldn't get a closeup of that Beach Boys cover. Brian has a look of near-psychotic intensity. And it's a plastic tree! Only in L.A.... (although, Spector's Christmas album is da'bomb!)

Takin' the Turban for a stroll:

Or, if this isn't showing, click HERE.

Too bad Lonnue Smith & Lynn Hope were of different generations:

I sent you a reply. Whether or not you got it, I don't know. But the answer is yes, I sent you one. Addressed it myself, in fact!

To respond to the original question, yes, I have been Warned. This is one of but many examples:

Turban Renewal!

Thank you.

The discs went out yesterday, and although for most it will probably be 5-7 days before yours get to you, some of you will have them a lot sooner. So I might as well get the discussion forum in place now. This test covers a lot of differnt kinds of music, not all of them "pure" jazz (and a few not even "jazz" at all). This is NOT always going to be "jazz from God that you never knew about". Apologies in advance for any disappointment or whatever that might result from this. Some of the stuff is more fun than profound, if you know what I mean. But there's a logic to the selections, as well as to the sequencing (I'm hoping that that gets picked up on, and I'll discuss it in the Answers thread), and I definitely think that all the selections are worthy of hearing for one reason or another. Hopefully some interests will be piqued, and/or something/somebody will be heard (or will hear!) in a different way. The music is either jazz, or jazz-tangental, but above all, it's MUSIC - genre is just a way to classify it for whatever reason. So proceed accordingly. There's a fair amount of fairly obscure things in here too, in terms of actual recordings. But remember - although playing the detective game is great fun for those so inclined, it's not the primary purpose of this endeavor. If you don't have a clue about even a single cut, discuss anyway. Liked this, hated that, reminds me of X, etc. Whatever. Just feel free to discuss the music in whatever manner strikes you - THAT is the object of the game. However... One request, please - If you know exactly what a cut is, please don't reveal it directly here. Post an AMG link or something like that. Let's keep the guessing, and therefore the thinking and the discussing, going as long as possible. If you know who some of the artist(s) are, but not the specific album, fine, throw it on out there. What I'm talking about is the EXACT revealing of a cut. Be discreet, ok? Ok, here it is, the BFT #4 Discussion thread, ready to go. Nothing left to do now except check you mail!

I've had these play-along records since high school. A rhythm section laying down a coupleof chouruses of standards for you to blow over. Occasionally the accompanists step ot for a solo. Who are these accompanists? On Volume One, it's Nat Pierce, Barry Galbraith, Milt Hinton, & Osie Johnson. Volume Two has Don Abney, Jimmy Rainey, Oscar Pettiford, and Kenny Clarke. With Volume 3, there's Abney, Mundell Lowe, Wilbur Ware, & Bobby Donaldson. I also have a MMO thing called FOR SAXES ONLY, which is a sax section of Hilton Jefferson, Bob Wilbur, Jerome Richardson, Seldon Powell, and Danny Bank playing Wilbur's charts with Dick Wellstood, George Duvivier, and Panama Francis. There's solos on this one too. I also remember Mal Waldron leading a few, and as a perusal of THIS SITE shows, some "name brands" are to be found on thees records. So, so these sessions make the discographies or not? Thanks in advance.

I'd think it might be interesting to hear how first hand exposure to "Free World" culture changed his musical philosophy, if indeed it did. One of the things that made the Ganelin trio so powerful was the context that their music was created in and was reacting to. I'd think that finally being able to get out/away from the environment that forged their esthetic might have resulted in some interesting internal changes. Or not. But if you don't ask, you'll never know.

As long as the thread's driving, y'all think you could stop by here and pick me up? I'm a bit thirsty myself.

Damn dude, you could have just left it here with me!

Just because a closet door is open doesn't mean you want everybody looking in. Jeez, I got shit in my closet that even God has forgotten is in there, so I sure as hell don't want Bob and Betty poking around in there when they're visiting from Des Moines. Drives my wife NUTS, but it's my closet damn it, and if I want people looking into it and finding a Maynard Cameo 45 up on the shelf or a 10-year old pair of dirty drawers stuffed up under an old pair of shoes with mud still on them from 1982, I'll invite them to do so. Otherwise, they just need to stay in the den and watch Emeril while I do something else, like take a nice long dump. Not everybody needs to know everything all the time.

All discs have been mailed as of today.

Are there any left?

I must recuse myself, because I'm already laughing too hard to be impartial. One point to consider though - why is it that a double negative becomes a postive, but a double positive still remains a positive? This seems to rig the gig in favor of the positives, and that gives them an unfair advantage, I think. Hell, they're already positive, what more do they want, mom's apple pie and dad's root beer? Yeah, sure, why not? I think the whole foundation is based on a fundamental premise that promises to found a nation based on a system with a fundamation in foundamentally unsound logisticles. It's time for a change, I say! Your witness, Mr. Mason.

Ok, I've known the 1963 Julliard versions as the "standard", but I just heard the Emerson Quartet's set and was impressed. I'm looking to get opinions on what might constitue a "best" set of this music. Mix and match different performances by different groups to make up a set, or pick a "complete" set by one group if that's what does it for you. This is music that remains fresh and compelling to me, and I'm about ready to get some new takes on it. So, what's good to you?

Re: Workman vs Merrit, I find myself preferring Reggie's tone to Merritt's - bigger, fatter. more bottom. I think his pitch is better, too. Perhaps a better fit for the more intricate music that the band played with him as a member than Merrit would have been. Still, Merrit carved his thing in stone, and that ain't easy. Bottom line for me - they both blessed us with their contributions.

Yes. I have it, and I like it very much. It's not really something to objectively "listen to", like "viewing" a painting, as much as it is something that goes on (and on) in its own place, and is perfectly capable of remaining totally seperate from your environment or becoming seamlessly woven into it. Your call! That's kinda touchy-feely I know, and, yeah, you could say the same about ALL music. But Braxton is about nothing if not confronting reality as an immediacy, not as a set of preconditioned expectations, and this collection succeeds marvelously (for me anyway) in doing exactly that. Hey, I know what I mean!

I listen with my eyes closed, but I sympathize.