JSngry

Didn't NBC used to own RCA Victor, or vice-versa, or something?

The possibility also exists that Young had been honing this concept for quite a while but that either he or Prestige (and possibly both) didn't want to record it, and instead the "safer" approach was what was captured and released (let's go fishing!). My hunch would be that Prestige was either reluctant about or outright uninterested in anything that strayed too far from traditional organ jazz. This was the time when organ groups really had a market of their own, and I'd not be surpirised but that Prestige (who had a REAL good grip on the market at the time) wanted "product" first and "explorations" second. Blue Note obviously worked under a different esthetic, at least to a certain extent, so when Young signed with them, it was an opportunuity to unveil all the stuff he'd been getting together the last few years. If this theory is correct, then it only SEEMS like the change was sudden. It had probably been going on for several years as a part of Larry's natural growth and evolution but had not been documented on record because the label viewed it as "noncommercial" or some such. Be a "commodity", not an "artist". dig? But maybe Larry felt that until he had it all together, at least in HIS mind, he'd rather not release it on a record. Some cats are like that - they're always growing, but they want to take the "safer" approach to records, because they view records, rightly, imo, as career tools, and a "noble failure" would maybe be bad for business. What you hear in person and on record are often two TOTALLY different things. In a market w/as much competition as existed in the East Coast organ market in those days, I'd think Larry might have been reluctant to release a record that didn't do EXACTLY what he wanted it to do. Competition can do that to you, and the jazz field has ALWAYS been competitive when it comes to gigs and whatnot. Still, I can't see Prestige being interested in, much less actually releasing, ANYTHING like INTO SOMETHING & UNITY at the time, much less the later stuff. So I'd lean towards "record company indifference" as my final guess. This is all speculation, mind you. I've got no direct knowledge of any of this. It's just what I see as a "likely scenario" based on what I know of the market and the business of the time, which is far from complete. So if anybody has first hand knowledge, I'm all ears!

Y'all really like DANCE WITH DEATH that much? Doesn't do too much for me, not in Andrew Hill terms anyway. Farrell's soloing lacks the rhythmic flexibility and general tonal and coloristic looseness that brings out the best in Hill's work for me. Same for Victor Sproles, who in turn seems to dampen Billy's fire. DWD is certainly not a BAD record by any means, but I've had it since Day One and it still doesn't get me. But different strokes, fersure. It's still Andrew Hill, and that's enough to get the car started. How far I want to drive it is another matter, but at least the damn thing starts, which is NOT something to take for granted. Frankly, all of what's been released of GRASS ROOTS & beyond BN Hill seems to have this more restrained rhythm section (and more) thing going on. Whether or not that was by design I can't say, and sometimes it works for me better (ONE FOR ONE & LIFT EVERY VOICE) than others (DWD & the originally released GRASS ROOTS), but in the end I think it hinders the fullest realization of the implications of the tunes (and those tunes are overflowing with implications). Fotunately - for my tastes anyway - it seems to have just been a phase. But it might also explain why a bunch of stuff still sits in the can. A music like Hill's BEGS to be played with a certain amount of spontaneous subjectivity (call it "abandon" if you like, but that's too broad a word for what I'm thinking), and too much restraint/control renders it purely objective. It's certainly a fascinating object, but it just FEELS like something you should be bathing in, not looking at, and TOO much of it leaves me uncomfortable, like I'm chewing but not tasting, and never swallowing. The right balance, though, makes for a very pleasant voyeuristic thrill, like you know you're not getting the full deal, but what you ARE getting is quite satisfying in its own right. And I'm hoping that's what PASSING SHIPS turns out to be (or better!). Lenny White was NOT a drummer to be restrained in those days. Ron Carter, that's the wildcard for me. If he came to play, it'll all be good. If not... Like everybody else, I'll know for sure when the thing gets here. I'm liking the comments about the arrangements, though. That's REALLY piqued my curiosity. We shall see. Hopes are VERY high for this one based on the comments here, as well as my own drooling at the personnel and concept.

Hey, if we'd have wanted to speak The Queen's English, we' still have the Queen, right? Seriously, though - am I the only one who's beginning to get REALLY annoyed at the constant self-referential use of the word "football" by players, coaches, and announcers? You know, stuff like, "This is a really good football team and we're expecting a really good football game today" and "When he throws the football like he threw the football today, our football team has a really good chance to win the football game" and "Whe he runs with the football, he needs to hold the football better so he doesn't fumble the football and give the other football team a chance to win the football game" and "There's a great crowd today at this football stadium, ready to watch an exciting football game between two excellent football teams" and on and on and on. Hey zeues freakin' kristo!!!! Of course it's a football. Of course it's a football game played by football teams comprised, of, are you ready? - football players. Helen Keller with a hangover would know that. I'd propose "Football" taking the place of "Hey Bob" as a recreational drinking game, but I'm afraid that it would lead to a rash of deaths by alcohol poisoning...

The obvious solution to all the problem of illegal copying is a simple one. Labels just need to release music that nobody WANTS to copy. Seems to me like it's a plan that's already in Beta...

Saxophonistical Seconds to the recs toi check out Mel Martin's site, especially if you play the instrument. Might be the only Wayne Shorter interview on record where he stays concrete all the time, the subject being horns and other shop talk. But that's just the tip of the iceberg. Griff's comments about Jaws are as priceless as they are informative. Etc. Check it out.

All PM's received, and options (intiguing all) are being weighed. Thanks!

Like the off-screen life of Warren Beatty, this board is proof that quantity and quality need not be mutually exclusive. Well, SOMETIMES it is...

The trick is in seeing that the money never runs out. THAT requires creativity, flexibility, personal charm. and sometimes even a job. But only as a last resort. Nobody said fun was easy, but consider the alternative. Set your priorities, pay your bills, take care of your family, and blow the rest. If there's no "rest" to blow, put your kids to work and take all their money. It's good training for when they have to pay taxes, and as much as they'll curse you now, that's how much they'll thank you later. Especially when they ace the English class unit on Dickens w/o having to so much as crack a book.

Well, if I can get a souvenir DVD memento treasure keepsake afterwards (with sound, of course) to help me cherish the moment forever, I just might go. "Transient" media is going to become the collecting craze of the 21st century, so I might as well get a piece while I can. Which is also the thought I've been having about Norah. But Nick's got this grin that tells me that he's been down that road before, so I dunno...

I ordered mine at CD Universe last night, when I saw that they were charging $3/disk less than what Dusty Groove (the bastards!) was selling them for (and from where I was just about to order them until I remembered this thread). So I multiplied $3 X 6 ('cause I ordered them all, because things are temporarily flush, thank God), took the whopping $18 savings, and applied, what, $6 of it(?) to upgraded second day shipping. So I STILL saved money, even as I spent it. I'm doing my part to rescue the American economy from its doldrums, and to keep EMI a happy, profitable corporate dicksucker. Plus, I demonstrate a theory of Economics that our political leadership still fails to grasp - if you're broke, you're fucked, but as long as you're not, it's not really "money", it's just numbers. As long as income exceeds outgo, let's party. Yeah, it really IS just that simple.

Has anybody seen Ravi lately, like in the last 24 hours? If not, I think I'm staying home. Just to be safe. Life is short enough as it is.

Much congratulations!

A new couple just moved into my neighborhood. Their names are Nick and Norah Shankar. Nice folks, young, always singing out in the yard while they do stuff. This afternoon, they sent me a note inviting me over for homemade Ravi-oli (their spelling). I'm kinda nervous about where they got the meat, but I don't want to risk alienating potentially good neighbors. What do you think I should do?

List price on a CD is like sticker price on a car. Never, NEVER pay it.

Well hey Boy Howdy! The Prestige stuff is usually considered their "best" work by those who don't care for the more Third-Streamish directions of a lot of the Atlantic work, and their Pablo sides were nealy unanimously hailed as a return to that earlier sond, so this set looks like it might very well be a winner. I might even get me one my ownself.

Can't forget Glenn Hardman, who made that session w/Prez. I thin he played what was then considered jazz organ full time.

A "tree" of hubcaps. Seriously! It's used as a percussion instument. Kinda like a bell tree, only...hubcaps. It's a cool sound. You'll see. Or hear, actually...

Did y'all dig how Trane said "Art Blakely"? Down home like a mutha!

Fwiw, MESSAGE TO OUR FOLKS is my "standard" album to introduce people to the AEC. But I'm not arguin', no sireebob!

Dude - both our cars got seriously wracked in the hailstorm we had this past spring. Filed Insurance claims on both, and got big checks for both. Fair enough - the damage was major. Took the cars to an "approved" body shop, and guess what - they wanted to TOTAL both vehicles! Said it would cost more to fix them than they were currently worth. Called the insurance company, and they generously offered to take back their claim check and pay us salvage value. We're talking a 1999 Accord w/75K & a 2000 Civic w/25K, both of which are in otherwise excellent condition. Our only other option (allegedly) was to keep the cars and the money, and be stuck with a "salvage title" for the life of the cars. We would only be eligible for liabilty coverage, too, no collision or comprehensive. Phuck that. A little more prodding of the insurance company rep, though, turned up the interesting tidbit that we could keep the money, have the cars repaired using their money and ours and get the full coverages reinstated if the vehicles passed a visual (yes, only a VISUAL) inspection from our agent. Not a company rep, but out local, around the corner agent with whom we've been dealing with from the first day we moved into this burg. Well, as fate would have it, my mother-in-law recently sold her property in Virginia (Smith Mountain Lake) and bought a smaller place in Ohio, where her family roots are. She needed some help packing and such, and the lovely and talented Brenda was "between jobs" as they say. Soooo... The folks in the rural Roanoke/Bedford/etc. area are a lot like the folks in East texas - somebody knows somebody who can do ANYTHING. Sure enough, Brenda's mom found a guy who did body work. She took one car up there, and the quote was for less than half of what the insurance estimate was for ONE of our cars. She checked the guy out, got references, made sure that he got good parts, etc, and put him on the job. It was damn near flawless - a few minor things that he said would have jacked the price up more than they were worth, and things you gotta be looking for to see. We's well pleased. So, Brenda comes home, and drives back in the other car to get it fixed whikle she helps her mom actually move. Same deal - quality work, and a ridiculously reasonable price. We get BOTH cars fixed for less than ONE claim check, take 'em to the insurance agent, get the "inspection", and full coverage is restored. We get a claim check (which we offered to return, btw, but were told that it would not be necessary!) that comes in MOST handy during Brenda's unemployment, and a lesson in how NOT to "trust" insurance companies and body shops to work together to provide a sensible resolution to a fairly simple problem. Now, watch our rates go up!

I know it might sound fishy, but I'd just like to have a reference copy handy for study, etc. Not looking to pirate it or anything. It's 45+ minutes long, and sitting through the whole thing (or playing "guess the timeing of THIS part") is something I'd rather not do If I don't have to. This is the kind of thing I could (and would) listen to strictly for personal study. First time through, I really got into Trane's voice, how "down home" it would be at times, and then how the guard would go up, and then the curiosity would come out, all that. A printed transcript doesn't begin to convey that. But I suppose there are copyright laws involved, eh? Gotta respect that, I suppose. Shoot, if there was a legit CD copy for sale, I'd buy it!

http://slought.org/toc/archives/display.php?id=1161 I hate to "steal" content from another board, but this is some pretty major stuff. You can get it in Real or Windows Media versions. Is there a way to save this to my hard drive for future reference?

Well, if you're providing Belushi mood enhancer, man, I'm REALLY bummed!

This is a point with which I will not quibble, since it I agree with.