JSngry

Check out George w/Elvin, especially the Vanguard thing on Enja. Too bad the Elvin BNs aren't available individually, because POLYCURRENTS & COALITION have some GREAT Coleman on them. There's a duet album he did w/Tete Montoliu that's pretty impressive too. It was issued stateside on Muse, but I think it was a Timeless recording, so proceed accordingly. Aomebody help me out here - I remember George having an octet in the late 70s, and I remember hearing a performance on NPR, but I don't remember if they ever officially recorded. Anybody know? The thing that makes George so pleasing to me is that he combines some pretty "sophiticated" harmonic concepts with a warmth and "bluesyness" that stereotypically gets attributed to his being from Memphis, but I think is just a result of him being a beautiful cat. I mean, sure, there's a lot of soul in Memphis to this day, but it's not like it's in the water or some such. Just being from Memphis ain't gonna make you hip!

I swear, the art of pranksterism is almost defunct. Fox certainly had a beef, but their response shows all the subtlty, cleverness, and intellegence of Mike Tyson on a crack binge. From: http://apnews.excite.com/article/20030929/.../D7TS4F400.html CNN's Tucker Carlson Angry Over Phone Flap Sep 29, 10:54 AM (ET) WASHINGTON (AP) - Conservative CNN commentator Tucker Carlson's snide humor backfired on him - and his wife. While defending telemarketers during a segment on "Crossfire" last week, the bow-tied co-host was asked for his home phone number. Carlson gave out a number, but it was for the Washington bureau of Fox News, CNN's bitter rival. The bureau was deluged with calls. To get back at him, Fox posted Carlson's unlisted home number on its Web site. After his wife was inundated with obscene calls, Carlson went to the Fox News bureau to complain. He was told the number would be taken off the Web site if he apologized on the air. He did, but that didn't end the anger. In an interview with The Washington Post, Carlson called Fox News "a mean, sick group of people." Fox spokeswoman Irena Briganti said Carlson got what he deserved. "CNN threw the first punch here. Correcting this mistake was good journalism."

It is VERY interesting.

From ejazznews.com New CD Releases: Bob Moses - Love Animal Recorded between 1967-68 at Vanguard Apostolic Studios in NYC. This was the time of the cult Jazz-Rock band 'The Free Spirits' with Larry Coryell, Jim Pepper, Chris Hills, Columbus Baker and Bob Moses. Moses was 19 years old and this (Love Animal) was supposed to be his first solo album. All this material previously unreleased except track 3. These young musicians were experimenting with powerful drugs and listening passionately to B.B. King, Robert Johnson, Marvin Gaye, Stevie Wonder, Aretha Franklin, James Brown, the Beatles, the Stones, Bob Dylan, The Band, Mongo Santamaria, Eddie Palmieri, Ray Baretto, Coltrane, Miles, Mingus, Monk, Bill Evans, Albert Ayler, Ornette Coleman, Eric Dolphy, and many more. Moses says "The music on Love Animal is raw, messy, over the top and mad eclectic but that was the truth of our lives at that time and tho we jumped musical styles like manic kangeroos, I can honestly say we also routinely pushed and expanded the boundaries of those territories to the limit. I.E. we never played any style in a stock, typical or lackadaisical way. And there are some great musical moments here, Keith Jarrett's profoundly beautiful solo on "Smoke Gets in Your Eyes", Steve Swallow's rich tone and across-the-bar phrasing on acoustic bass, Coryell's blistering other worldly guitar playing on "Dancing Bears" and for me most of all another chance to hear the great Native American saxophonist Jim Pepper who I believe is one of the most powerful, unique, soulful and under appreciated voices in the history of the music." Title : Love Animal Artist: Bob Moses Label : Mozown/Amulet Records Catalog #: amt011 Retail Price: $14.00 ($12.00 at the Amulet Records Store) Available: At most independant record shops and some larger commercial chains in the USA and Canada via NAIL distribution and directly through the Amulet Records Store. The Amulet Records Store is now taking orders! If you are a store or distributer out of the US or Canada and would like to order, please contact illyb@amuletrecords.com.

Glad to see Hugh Walker getting props here. What a fine drummer! Although the whole album is a groove, I think my favorite cuts are the two R&B covers. They just have a "float" to them that I keep coming back to, almost as if by compulsion. I can go into a trance listening to both of them, especially "Ain't That Peculiar". Everybody takes their time and just lets it happen. Can't beat that.

NEXT ALBUM IN JAPAN G MAN FALLING IN LOVE WITH JAZZ THIS IS WHAT I DO None are perfect by any stretch of the imagination, but all have more than enough highlights to be satisfying purchases for a Rollins fan, I think. Or, just get the SILVER CITY box.

That part about copping Coleman in a year might sound immodest, but really, it's not. It's just a matter of getting the tone and learning the licks, both of which are a "simple" question of mechanics. And having/taking the time to focus in on doing it. But no matter how close to Coleman I got, I'd never be him. But I'd be a HELLUVA better saxophonist! Back to the original topic of the thread, I'm curious what the rest of that Donaldson album is like. Is it all "pop"-ish, or is there some good greasy Argo Loujazz as well?

Give me about 8 undistracted hours a day for about a year and I could come fairly close. It's paint-by-numbers, basically, at this stage of the game. 33 years and counting, though, and I'm still working on playing like Jim Sangrey, with mixed(up) results at best. Considering all the good it's done me, I'm not so sure that painting by numbers might not be the smarter choice!

December, 1999.

Show me a cat who carries a blade, and I'll show you a cat with personality. Not necessarily PLEASANT personality, but let's not quibble...

There's an epidemic of PMS? God help us all.

I've noticed that tendency on other Epic LPs of the time, which leads me to think that Epic must have origianlly been a Columbia "budget" label of sorts. Can those who were there at the time confirm or deny this?

No longer under 40, but I dug Kenny Garrett from Day One, for precisely the reason I mentioned above - he didn't have a tone like anybody else, and even though his influences were blatant early on. I didn't care, because even though he was saying things that had already been said, by and large, he was saying them in a voice not quite like any I had ever heard before. I'd say the same thing about Osby, Coleman, and Thomas, the "Big 3" of M-Base saxophonists. LOTS of derivation mixed in with LOTS of originality, in frustratinly inconsistent proportions from recording to recording, but the individual personalities were always present. It kept me interested to see where and how things were going with them. That's all I ask - not "innovation", although that certainly excites me (at least initially, "staying power" is another matter entirely...), but a hint of a distinct personality. It takes time to fully develop, sure, but it's usually there in raw form from the git-go. If you get your tone from one place, put your own twist on your phrasing, or vice versa, or SOMETHING. It was Warne Marsh, I believe, who spoke of "taking responsibility for your own melody". That phrase at first struck me as a bit of a "grand pronouncement", but the more I think about it, the more it seems to actually be the whole thing in a nutshell - be who YOU are, and if you're somebody who borrows rather than innovates, no problem, just do it YOUR way, somehow. Maybe this is all too "esoteric" for listeners who simply want to hear some good tunes well played. Fair enough. For me, though, the basic attraction of jazz has ALWAYS been it's collection of personalities, very few of whom have actually been true "innovators". I mean, Junior Cook didn't innovate shit, but he's a deeply satisfying player (at his best) for me, just because of his unique personality. Not everybody wants that? Ok, but put me down in the column that definitely DOES!

Fuckin' A!!!! (see, I CAN do it! )

Not even vaguely. McPherson had a distnctly personal tone from the git-go. You heard him an you knew it was HIM. Plus, although hsi vocabulary was entirely that of bebop, he had his own way of phrasing and inflection it. I just can't say that about Alexander - to me, he sounds like he's playing George Coleman solos, and if I can identify him these days (and truthfully, I can), it's as "the guy who sounds like George Coleman", which is a big (or subtle, I guess, depending on your perspective) difference from sounding like Eric Alexander. Truthfully, I think much of the criticism levelled against McPherson early on was due more to the fact that the style that he chose to work within was viewed at the time as "old fashioned", "outdated", "played out", etc., and there were percieved socio-political connotations to not playing music that reflected the times and the turmoils therein. Many critics, fans, and musicians viewed it as being somewhat Tommish to be a young guy playing bebop in 1966. The irony in that, given the perception of bebop only 20 years earlier, is not lost on us today, but such were the times. My problem with Alexander (and really, "problem" is MUCH Too strong a word, "Disinterest" is a lot more accurate) is that not with the style that he chooses to work in. It's a fine style, and much good music can still be made in it, as it can in any style. My disinterest stems from the fact that I, and I gotta stress, I can't get past his tone, phraseology, EVERYTHING still being so damn close to George Coleman's. Maybe that's a quirk in my hearing, but I swear, I don't see how anybody can miss it, it's SO obvious to my ears (but maybe that's jsut me). I get none of that w/McPherson, never have. No matter what the licks/language he's working with, he always sounds like Charles McPherson, nobody else. Sure I can hear his influences, but he's gotten beyond them, even from the beginning, and today he is a stunningly mature, totally individual player. Which is no surprise, given that he had his own sound from the beginning. Again, that's what matters most to me - not style, not influences, not profundity even, but individuality. That's what I liked in music before I got into jazz, and that's still prefer - something that stakes a claim and says, "This is ME!" It doesn't really take much, either, sometimes, just SOME kind of flavor that serves as a truly personal identifier. I've yet to get that from Alexander, not even slightly. But those are MY criteria, MY standards, MY impressions and I recognize them as such. Those who like the guy either a little or more than a little are not going to be objects of my derision unless (like somebody most of us know) they hold him up as an example of Superior Talent Becasue He Can Do This, Unlike OTHER Players Who Can't Even Blow Their Nose In Tune, ETC. (and y'all know who/what I'm talking about). Those who dig him are welcome to do so - you're not "wrong", and I'm not "wrong". I have my reasons for not caring about him, others have their reasons for digging him. Our reasons work for us, so it's all good that way. We'll know in another 10 years or so whether Alexander will develop into a truly personal voice (which does NOT mean "innovator" - somethng as fundamental as having your own tone counts!). Usually, it's happened by now, but there are exceptions. Personally, I'd love to see and hear it happen. Maybe it already is, but I'm just not hearing it. Wake me when you KNOW I will! And yeah - I admit it - I am a TOTAL tone geek. Sue me!

Our tax dollars at work(?)... http://www.nytimes.com/2003/09/28/business.../28twen.html?th Need Change for a $20 Bill? Call Hollywood By BETSY STREISAND Published: September 28, 2003 Americans aren't referred to as Homo consumens for nothing. There is very little they don't understand about the almighty dollar except, perhaps, how to hold onto one. Even so, as the Treasury Department prepares to introduce a redesigned $20 bill on Oct. 9, it isn't taking any chances that confusion over the bill's new look will interfere with commerce. And it is not relying on the standard government approach of public service booklets and brochures to get out the word. The Bureau of Engraving and Printing will spend $33 million on advertising, marketing and education programs to promote the new bill, and it has hired a public relations firm and, in a first, a product placement firm and one of Hollywood's top talent agencies to put the $20 bill on the publicity circuit. By the time the new bill joins the currency flow next month, it will have appeared virtually everywhere but on the ballot for California's recall election. "We knew we couldn't rely on public service announcements and the news media alone to get the depth of information out about the bill's new design and security features," said Thomas A. Ferguson, the bureau's director. "We needed to look at different avenues. And we knew from our research that people get a lot of their information from entertainment and television." The new $20 bill, which is shaded with peach and blue, is the first United States bill since 1905 to come in colors other than green and black. Although the additional color is subtle, it makes the bills more complex and harder to counterfeit, according to the Secret Service, whose original mission when it was set up in 1865 was to fight counterfeiting. Andrew Jackson still graces the front of the $20 bill with his tousled hair and cape, although he appears to have had some work done around his eyes and chin. His portrait is larger than it is on the current bills, and the oval that has surrounded him for decades has been removed. In addition to the new colors, which prompted comedian David Letterman to crack that the bill had been made over by the guys from "Queer Eye for the Straight Guy,'' the bill also has a large eagle to the left of Jackson and a smaller eagle to the right. For enhanced security, there is a plastic security thread embedded in the paper, ink that changes colors when it is tilted in the light (from copper to green instead of the old green to black) and more microprinting, the tiny letters that are difficult to reproduce. That may sound like a lot of changes, but in many ways the new bill still looks like a traditional bill, which apparently is how Americans prefer it. When the bureau tested bills with more intense colors, like purple and magenta, focus groups thought they looked fake. "Intuitively, we thought that people would have liked the brighter colors," said Richard I. Mintz, chairman of the public affairs practice of Burson-Marsteller, who is in charge of the campaign for the new currency. "We were wrong. What they wanted was a more subtle change." Even that may require an adjustment. "People may need a little bit of a heads-up about the new bill because of the color change," said David Robertson, publisher of the Nilson Report, a trade journal for people who work with consumer payment systems. "But I think the public will readily accept the bill, and it will quickly go from ooh-ah to ho-hum." It's the ooh-ah stage that the Treasury and its Hollywood agents are looking to exploit by lobbying the pop culture world for as much free exposure as possible. The bill has already made appearances on the game shows "Wheel of Fortune" and "Pepsi Play for a Billion," where its new look and security features were talked up. Jay Leno, David Letterman and other late-night talk-show hosts have been poking fun at it - which is exactly what the William Morris Agency was hoping for when it discussed the new bill months ago with the shows' writers. During the introduction week, the bill is likely to be featured on many news and entertainment programs just because it's newsworthy. But it will also have a starring role on "Who Wants to Be a Millionaire," with hundreds of new $20 bills doled out to audience members, and Meredith Vieira, the host, explaining the bills and waving them in front of the camera. The bill will get a category of questions on and will pop up on "America's Funniest Home Videos." In one of several joint marketing efforts between the Treasury and consumer goods companies, the bill's design will grace bags of Pepperidge Farm's Goldfish crackers, and the crackers themselves will be colored to match the new bills. Images of the new note will pop up on thousands of A.T.M.'s, and the bill will even be superimposed electronically on the field during college football games on ESPN and Monday Night Football on ABC. Those are just the appearances that the Treasury knows about. Hollywood representatives for the bill have been meeting for months with television writers to try to land it a meaty role on a series like "CSI: Miami," "The West Wing" or "Law & Order." The government won't know how much face time the bill will get until the shows are broadcast. Whatever the amount, it is the kind of publicity the Treasury couldn't buy if it were simply using the advertising route. That's why it broke the government mold and hired William Morris and the product placement firm Davie-Brown Entertainment to make the bill a celebrity through public relations instead of paid advertisements. "We can get the equivalent of millions of dollars in advertising for the price of a flat fee to William Morris or Davie-Brown," Mr. Mintz said. For the $12 million the government is spending on print and television advertising for the bill, it shopped around among America's largest media companies, including Viacom, Walt Disney and Time Warner, to see which would give the bill the most exposure on their entertainment shows in return for the advertising dollars. Disney, which owns ABC and ESPN among other cable networks, made the best offer, Mr. Mintz said. The goal of all this is relatively simple. "We want to build awareness - then we can begin to change behavior," he said. The behavior that he wants to change includes stuffing the $20 bill, the most frequently counterfeited in the United States, into a pocket or cash register before checking its authenticity by, say, holding it up to a light or feeling for the security thread. The entertainment and advertising blitz is part of a five-year campaign meant to introduce the world to the $20 bill, and later to color versions of the $50 and $100 bills. Campaigns for those bills will be less elaborate and focus more on foreign countries, where those bills are the most popular. (Foreigners need to be reassured, for example, that their old bills have not been devalued.) In the United States, a half-million businesses and organizations have received elaborate information and training kits that will be used to bring employees up to speed. The Treasury has also sent information to schools and retail outlets. "This is a product that everyone uses every day," said James Lake, client managing partner for Burson-Marsteller. "When you change it and you don't explain it, the lessons you learn are pretty clear." The Treasury itself learned some of those lessons in 1996, the last time it changed the look of the currency. Tens of thousands of vending machines in post offices and train and subway stations hadn't been set up to accept the revised version, Mr. Lake said, and cashiers and other money handlers didn't always know what to make of the new money. Overseas, some consumers panicked, thinking that their old dollars would be worthless. Such confusion not only hurts sales for retailers, but can also give counterfeiters a wider berth to exploit the chaos. ONLY one in every 10,000 bills of all denominations is a fake, according to the Secret Service. But the criminals are gaining. "The old traditional methods required a high degree of skill," said Jean Mitchell, a spokeswoman for the Secret Service. "We see that diminishing." As technology becomes more sophisticated, counterfeiters now have easy access to fast and inexpensive digital printers and scanners. In 1995, digitally produced bills accounted for only 1 percent of counterfeit bills; last year, that share was nearly 40 percent, including some dashed off with printers in college dorms to pay pizza delivery men. To stay ahead of counterfeiters, the Treasury plans to make changes to the currency every 7 to 10 years. That may seem like a lot of effort to guard something that most Americans use less and less each year. Last year, Americans used cash for just 19 percent of their $5.4 trillion in purchases, versus 25 percent in 1990, according to the Nilson Report. By 2020, as little as 10 percent of payments will be in cash, Mr. Robertson said. There is still plenty of cash around, of course: $2,178 for every man, woman and child, according to the Federal Reserve. And the number could get a little bump once the new colorful money appears. The Fed says it will print millions of new bills for the holiday season, in anticipation of a peach-and-blue Christmas. We are not amused, if only because of the missed opportunity for a "peach and Blue Note" campaign...

This is a really tricky can of worms to be opening, but given the ethniophobia times, Tizol would not be considered strictly "white" in may circles since he was Puerto Rican. Similarly, Barney Bigard was of Creole ancestry, a racial category that by definition implies so-called "mixed blood". Still, Duke's addition of thes two players plays into Jelly Roll Morton's "recipie" for jazz that includes "the Spanish tinge" as well as the French/Creole flavoring of New Orleans.

This thread has gone SEVERELY off-topic...

Yeah, I'm going to get speech therapy, get elected president, and change the course of history. TOP OF THE WORLD, MA!!!!

Who is Will Boulware? I don't know that name.

OH yes!! Go for it!!! Ditto. And add the Wes Montgomery FULL HOUSE date on Riverside OJC to the list. You get that same foursome plus Johnny Griffin, and they're all in top form or better. It's GOOD!

Who's he got with him? I dug SOUL MANIFESTO, t'was a good party record, and I'm always down for a good party, record or not.

I'd love to see it, but I'm afraid that it would result in a nuclear holocaust or something that would prevent the Series from being played. A player's strike wouldn't be big enough to stop THAT tide... SOMETHING would have to happen - you can't have one of those teams actually WINNING. That would upset life as we know it for the next millenium. And beyond!

And, is this the only cover for the Epic? Sorry about the poor lighting, I'm still learning this webcam stuff...

Hey Shrdlu, does your copy of CHAMBER MUSIC have a green tint to it like this one? This is an early 80s version w/crappy "simulated stereo". Oh, for the good old days when amps had a mono switch!