JSngry

Crude, sure, but it's Billy Bob, so whaddya expect, Sir Alec Guiness?

Pining? As in the tree? Well, here's something worthy of wood...

Why? Maybe he's her brother... Myself, all I can say is that this is one instance, perhaps the ONLY instance, where I envy Billy Bob Thornton.

And may I ask what it is that you're NOT hearing out of him?

Awritethin!

Just a heads-up to those who do vinyl archaeology - those two Prestige sides will be found as CHILD'S DANCE & ANTHENAGIN.

3 if there's a drummer. MAY-be..... Hell man, homemade away. Of course, it IS best to know the "right" changes before departing from them, but ultimately, If it's what you feel and if it works... This is jazz, dig? The day that homemade-with-conviction-that-works no longer has a place is the day the music dies. Are we there yet?

I think he's like that with everybody who's not already established. If he'll do the deal, don't sweat it if he sounds bored or not - you'll get center section profile.

Yep. You could, can, should, and no doubt will say the same thing about all of Ike's BN lps. They's all just too beautiful.

I don't know if it's on the stands yet, since I subscribe. Dom Minasi is on the cover. They didn't give the web address. Y'all were reviewed in tandem with Papa John D, Bill Heid, Sylvia Cuenca/Kyle Koehler, and Swingadelic..

It IS one of Joe's more "out" dates, but not an inaccessable one if one is not inherently opposed to freer (as opposed to outright "free") playing. Joe's mastery of the instrument and supreme musicality are evident from the git-go, and that alone is appealing to me. Others' milage, of course, may vary considerably. But I personally think it's a stone gas of a side. And they DO have more than one copy, I'd imagine.

Thanks, Mike! Gotta love this Internet thing, eh? OK, this from Hentoff: As for the immediate stimulus for the Freedom Now Suite, in 1959 Max Roach had begun collaborating with Chicago writer-singer Oscar Brown, Jr. on a long work to be performed in 1963 on the centennial of the Emancipation Proclamation. The vivid elements of 1960 affected the content and direction of the work, which was first performed for NAACP youth assemblies in Washington and Philadelphia, and then at New York's Village Gate. It was at the Gate that I first heard the Suite and asked Max if he would record it for Candid. So - Max was already without a label when the Suite came to fruition. But was he label-less in '59 when he began collaborating w/Brown? If he recorded his Time album in January of '59 (while still under contract to Mercury, right?), and began doing sideman dates for Time in '59 into '60, then is there a plausable circumstantial case to be made that he intended to sign with Time when his Mercury contract expired? If the answer here is "no way", then case closed. Maybe Max had already decided to be a free agent and just did those dates for some bucks and/or as a favor to all concerned. Seems plausible to me. But what if he HAD intended to sign w/Shad & Time when his Mercury contract formally expired, but sometime in the course of events he floated the idea of WE INSIST! to Shad and realized that it wasn't going to fly on Time? Max had alread begun self-producing his albums at Mercury, so he might have by then come to see labels more as means of distribution than essential means of production, and if/when/if Shad nixed the idea, Max just moved on. Equally plausible, no? Then along comes Hentoff & Candid, and the rest is history. If it can be broadly said that "The Sixties" didn't really begin in America as a whole until the JFK assassination, then it can also be broadly said that in jazz, they began with WE INSIST! As usual, jazz was ahead of the rest of the country. Certainly this matter is not a question of cosmic importance, but it is the kind of historical minutae that fascinates me (for better or worse). I hope that all this isn't too far-fetched in the face of some basic facts that I don't yet know. It's just something I've wondered about for some time. Mike (or anybody else who has factual and/or anecdotal data at their disposal), any thoughts one way or the other (including "Let it GO man, nobody GIVES a flyin' phuck! )?

If anybody's interested, here's BARCELONA for 7 bucks: http://www.daedalusbooks.com/Products/Deta...26Media%3DMusic

Thanks for the chronological clear-up about Max's leader date for Time, Mike. Like I said, that was an area of "cloudiness" for me. The rest was just speculation on my part, wondering about the genesis of WE INSIST. Any documentation as to when (or even where) the idea was first floated and how long from conception to execution?

I'd like to get a sample of Snooky Young's re-creation of Hobart Dotson's intro to "Don't Be Afraid, The Clown's Afraid Too" on LET MY CHILDREN HEAR MUSIC and use that to wake up to. LOUDLY.

Nice version of "Turnaraound" by Haden & Hawes on THE GOLDEN NUMBER.

FUNNY! But THAT come from THIS! Does a man have NO friends in this world?

It's a Joe Venuti reference. http://www.metroactive.com/papers/metro/07...-rock-9728.html

Tofu gets a bad rap. As far as a main flavor, it sucks, but putting it in with things that actually DO have flavor is very economical and nutritious - GREAT source of protein. The stuff acts as a flavor sponge, so it's perfect for really spicy Asain dishes, where the texture is non-obtrusive.

Don't fight the McGiddle Jones. The syrup's baked in, ya'know.

I got a trumpet player buddy who used to be a screaming lead player. A trip to the dentist changed all that - the dentist hit a nerve that has left my buddy's upper lip numb ever since. Disaster for any brass player, especially a lead trumpet player. Now the guy does private teaching and and plays section parts. Sweetheart (or dummy...) that he is, he never sued. OTOH, I've had the same dentist and physican for the last 12 years and things have been perfect. I fear the dentist and the doctor no more than I fear the TV set, and LESS than I fear what comes in my house over the TV set.

Why? Don't know this story, but would like to hear it! As I understand it, Max kept interrupting the proceedings by walking onto the stage carrying placards with various political/civil rights slogans. According to Joe Goldberg's Jazz Masters of the 50's, Charles Mingus's response to this was, "I told Max that if he wanted to become famous, he'd have to do something crazy." Make of THAT what you will!

Ok, Time was out of the picture by July 1960, but Max had recorded for them as a leader as late as November of 1959, right? Obviously, a project like WE INSIST! doesn't get thrown together in the studio like a blowing session, so here's what I'm wondering - did Max maybe pitch the project to Shad in late '59 or early '60, and Shad says no way, are you crazy?, something like that. Max, who by some accounts had been a little wobbly on-and-off ever since Clifford's death, takes that as the final straw and goes all the way into activist mode, with the Newport Rebel Festival being a warning shot in the summer for the upcoming WE INSIST! recording in the fall, Hentoff and Candid being in the right hands in the right place at the right time to document all this. When Candid closes up, both Mingus & Roach go to Impulse!, Max pretty much taking up where he left off, and Mingus going into something else, at least on record. The break with Shad and Time seems too close to the Newport Rebel/We Insist/Candid series of events to have been entirely coincidental, or so it seems to me. Maybe it was though. Either way, I'm wondering if there's any documentation one way or the other, as it seems that if indeed Shad had rebuffed the idea of WE INSIST, either politely or otherwise, that might have indeed served as one factor that turned Max into a MUSICAL activist as opposed to the type who kept their politics out of their music, at least overtly. Or maybe Max had just and enough of "business as usual" and broke away from Shad just because. It seems like a matter for potential further investigation. Shad died in 1985, right? How is Max's memory these days? Have we waited too late? Another question - did Time slide into Mainstream "seamlessly", or was there a break in the action? And as far as Debut, I know the label ceased being a real label in '57 or so, but Fantasy kept the imprint active for the occasional later release by Mingus and Roach. Didn't SPEAK BROTHER, SPEAK come out as on Debut, or Fantasy Debut Series, or something like that?

You guys got reviewed in the new Cadence. They dug your album and described it as a "red alert" for organ fans!

For Wayne: For Eric: