JSngry

I was just about to post the same message and the same sentiments. Dude, if you're just lurking, you might want to know that "somebody" is kicking your ass in the post count race. Better come back soon or else you'll be toast! If those health matters are acting up, however, well, deepest regrets, and here's hoping for the speediest recovery, Either way, you're missed, man, you're missed.

One BRIEF excerpt: I Do is my boyfriend, Matt, and my song. We heard this the first time in North America, but made by CMA an Italian maker of commercial espresso machines. That's the reason for your being. Your biological system is ready to be colored with the eight pastel markers that are included in funny mode, and the game devised by award winner Reiner Knizia I was really pleased with the purchase. To my surprise it's like no other artist ever has in the history books -- a point which seems vital to the scene, and as good as they work. I just love Doug's guitar music. I listen to it. This is an album of Big Band Music. Duke Ellington, Irving Berlin, Rogers and Hart, Count Basie, Denzil Best and Tiny Kahn are but a few design flaws keep it from playing through the night. Huh?

http://moonshine.iwasateenagewolfman.com/m...erry-vale/arena Collectors of non-sequiteurs, welcome to Paradise.

Not really relevant to the topic, but here's a fabulous picture:

Aric, I'm not a hardcore film buff, but I've heard over the years that it varied from picture to picture. Sometimes there was real dialogue going on, and sometimes the actord were just B.S.ing. I've even heard in a few instances that if you read lips, you can pick up steady streams of profanity. Can't prove that by me, but that's what I've heard. I agree that silents are a most engaing medium in the right hands. A few years ago, I was involved in a project with a "new music" ensemble to improvise live soundtracks to films by Chaplin and Lloyd. We watched the movies several times beforehand so we could get an idea of the various character dynamics and plot curves, and I found myself totally digging how involving those movies were. You can say much the same about the old radio shows too - the listener was required to play an active, not passive, role in order to give the stories their full impact and meaning. It's a shame, I think, how we as a culture have steadily been evolving towards an ethos of total saturation in our mass entertainments. Oh sure, there's a lot to be said for the all-out sensory assults, they often provide a real and enjoyable rush, but when that gets to be the ONLY sensory input that many people have, I think that a part of the brain, the "critical discernment" part (if there is indeed such a thing...) tends to get beaten into submission and eventually ceases functioning. That CAN'T be a good thing. Just amature psychology on my part, but I know that when I come across a work in any medium that uses and delights in space, aural or visual, I enjoy it immensely, and the more I get of it, the less attraction I have for that which demands nothing more of me that I sit there and be a passive tool for manipulation. There's a place for both, I think, but it seems to be getting one-sided, and I don't dig that.

Clunky, it sounds like you've gotten your feet wet with the AEC & Co. (those two BYG/Actuel sides you have are "classics", as is SNURDY), so if you're digging the vibe and want more, the Box would probably give you a lot of pleasure.

Polishing the Brogan, are we?

Except when the horn player lays out!

MAJOR previously unreleased Charlie Parker material in my jazz-lifetime (1971 onward) include the Wichita broadcasts/Minton's "Cherokee" on Onyx, BIRTH OF THE BEBOP on Stash, the Bennedetti Mosaic, and that's about it. I'd add the various airshots, especially the Bird/Navarro & Bird/Diz/Bud Birdland dates, but those had all been circulating amongst serious collectors (one of which I've never had the resources to become, alas) before being released on various labels of various legitimacy. By "major", I'm talking about stuff that had only been rumored to exist or had never been known to exist. I think this recently discovered item definitely falls into the "major" category. Look at the chronology - this concert took place before ANY Parker Dial session and before any of his Savoy sessions except for the Tiny Grimes date, not exactly a bebop date. It's rougly contemporaneous with Dizzy & Bird's first Guild sides, the first "non-transitional", "pure" bebop records. But those are 78s, and this is a live concert recording, without the time constraints of studio 78-ery. This is about as REAL representation of "pure" bebop in it's earliest form that we're likely to get until/unless somebody brings out some recording(s) of the Dizzy/Byas group at the Onyx Club in 1944, and even those ain't likely to have Bird, so it'll have to be Marris-ized (have an asterisk placed beside it, for the non-sportsheads in the house). Think about it - we're going to be hearing unfettered examples of a still VERY underground music (Dizzy was the only player with even half a "name"). The "Bebop Revolution" was still in the future as far as all but the MOST clued-in "insiders" went. As the music surfaced further, it of course underwent some minor yet real evolution. But this recording is before any of that occured - this is almost like being present for the first public display (or reading, however they did it) of the Declaration Of Independence in 1776, before word of it got to the British. Think about THAT... Really, this is going to be a major release, a historically significant release, by any definition. Everybody performing at their very highest level, and the recordings sounding GOOD is almost too much to hope for, but dammit, it happens. Nothing short of miraculous if you ask me, nothing short of miraculous.

Well, it has been so far...

Which, considering the topic of this thread is entirely appropriate, I suppose...

Careful, you're dating yourself.

and don't forget the fine versions of "I Remember..." that Don Byas recorded fronting the Bud Powell Trio. Superb, both.

Relaxin' At Camarillo?

I went through a tunnell in a carpool once. Never again...

This is one of the few times I can actually choose "a" favorite. I'm with Geoff - "Stablemates" is it for me. Killer (in several ways ) changes, and a beautifully lyrical melody (with an almost subliminal allusion to RITE OF SPRING that may or may not have been intentional). The lyrical quality usually gets obscured because of the tempo most cats play it at, but I had occasion to hear Jon Hendricks 3 nights out of a 5 night club booking back in the early 80s, and every time, he did "Stablemates" with what I guess were his lyrics, and he did it at a nice MEDIUM tempo, drummer on brushes, all that. The beauty of the melody just came alive hearing it like that, and I've been intoxicated by it (and a few other things...) ever since.

Well, I'd like to know this - who was doing stuff like "Chameleon" (the whole piece, not just the "hit" part) & "Vein Melter" before Herbie did HEADHUNTERS? Sure, you can break it down into "this came from here, and that came from there", but that still leaves out the Herbie factor that put it all together into a unique whole. Like it or loathe it, I sure as hell hadn't heard anything like it when it came out!

Yeah, that one kills! It was used in a movie, right? Check it out indeed!

As is this one: Worth the cost of admission for Luis Ortiz' (whatever happened to THAT cat?) total reimaging of "Tu Y Las Nubes" alone, but the be much more delight to be had. And if you can find it, get this one: Side 2 is more of The All Stars' woefully misguided, totally suckass attempts at disco, but Side 1 is primo mid-70s salsa, and a highlight is Cruz' rendition of "Isadora", which, believe it or not, is a tribute to Isadora Duncan and features some really nice solo work by Eric Gale (!!!!). The first time I saw Cruz was in the late 70s in Dallas. The venue was an abandoned supermarket turned Latin dancehall, and the place was freakin' PACKED. I worked my way to the front of the stage. She was backed by Sonora Matancera, who by then must have had an average age of 127. Or older. You look at these guys and think you're at a salsa Chuck E. Cheese or something, they don't look real. Until they started to play. THEN the shit got heavy. Those old men were jamming like music was all that was keeping them alive and like they didn't plan on dying anytime too soon, which for all I know might have been EXACTLY what was going on. Celia was regal, La Reina Suprema, and she rode the music and worked the crowd in a way that was beyond masterful deeply into intuitive communality. Them Cuban cats don't really care how long a groove goes (hey, it's a GROOVE for Crissakes, why would you WANT to worry about how long it lasts, hmmm?????), and even the boleros were extended. But the guaguancos and the other uptempo things were where the action was, and they just locked into that groove and held it. Trumpet great Chocolate was on the gig too, so between Celia, Sonora (GOD, I can still see that sqareheaded piano player who looked older than life and had hands the size of a preschooler playing those montunos...) and their coro, and him, there was no need to be in a hurry to get anything over with. The dance floor was packed like the proverbial sardine can, but their were no collisions. Everybody was dancing in their own space, yet the room and the floor was moving as a single organism, with Celia the goddess who was calling the shots. We older jazz folk like to refer to the whole call-and-response thing like it's a jazz thing, but it's not - it's an AFRICAN Thing, and Cuba has got those roots probably deeper than anywhere in the Western Hemisphere. It's quite the improvisational art, that singing the responses to the coro's calls is, and Celia just RULED. She had no limits and knew no fear (but why WOULD she?). This was music in its purest communal form performed at its highest artistic peak. If I hadn't experienced it myself, I'd have never believed the vibe if somebody hadda tried to describe it to me. But it was RIGHT in a way that very few musical experiences are, and I was blessed to be there. One of the most beautiful nights of my life, that one was. I even danced. A LOT. Not particularly GOOD, but I danced. I wanted to. I HAD to. It would have been blasphemous not to. Gracias, Maestra. MUCHAS gracias.

I heard an unmastered, unEQ'ed tape copy, and it sounded just fine. Remember, it was recorded using Town Hall's in-house, professional quality(?) recording system at 78 RPM . It's not a homemade thing that some fan captured on the sly using low-grade portable equipment. Fidelity is quite good overall. A tiny bit of surface noise is there, but what do you expect from acetates that have been God knows where for the last 55+ years? Balance wavers occasionally, but the hall sound comes through quite nicely. It's definitely a "live" recording, not a studio one, but unless you're fatally anal about sound, there should be NO complaints. I'll say it again - this is going to be onee of the most important historical releases in quite some time, and the good sound is just icing on the cake. If you believe in miracles....

Is having your wife/girlfriend/favorite waitress/whoever massage your prostate while you (or her, for that matter) masturbate good or bad in terms of overall prostate health? Does the study say? Don't tell me - they haven't done THAT study yet. Another case of belaboring the obvious and getting paid for it.

Chuck also brought along tapes of the Cherry/Grimes/Blackwell & Lacy/Brown/Higgins trio sessions for Atlantic. the ones that are unreleased. The ones they won't lease him because it's not a big enough deal for them to bother with. The ones that are going to be the cause of some stupid dipshits spending eternity in the fiery torments of HELLLLLL-LA if they never, ever get a chance to be heard by the public, in even a limited release. The music is everything Chuck has said it is. At least everything, maybe even more. Life is a crapshoot, and jazz perhaps even moreso. This great music, this beautiful music cannot be heard even though it is owned by a mega-corporation and even though there is a man willing to pay them real American dollars, the kind that spends(!), for the right to do so. God knows if the music will EVER be released. Then out of nowhere, a stack of acetates show up in a flea market and we've suddenly got a window on one of the key musical developments of the 20th century ready to be released in a few months. Go figure. The point is - make noise when and where it can do some good. The new Uptown release can either cause a sensation or remain one of those "duh, I almost bought it but it seemed kinda, uh..., OLD, and I wasn't sure what the SOWND KWALITY would be like so I passed on it, but now that Blue Moon is offering it for $1.75 I guess I'll take a chance on it, besides, I've got the Verve Parker studio masters and that's all the Bird I think I really need" kinda things that make it nothing short of miraculous that some of us haven't just walked around killing everything with two legs that moves by now. You think I'm kidding, don't you.... We all have choices in this life. Get ready for the Uptown. And FREE THE ATLANTIC TRIOS!!!!

No Devil whatsomever. LONG ANSWER: This is a profoundly important jazz document, and if I can do anything to stir interest, maybe even help create a little pre-release buzz, then I'll gladly and willingly do it, and of my own volition. Here we are in 2003, the 21st century, and although most jazz fans know who Charlie Parker was, they really don't appreciate him for the true genius he was. They feel warmer towards Dizzy because he lived a long time and became a charming elder statesman, but most don't realize just what a powerfully dangerous force he was. For that matter, very few of us can have a grasp of just how intense the earliest bebop was, because we weren't there. I know I wasn't. Sure, there's plenty of 78s that HINT at it, and there's airshots from a little later on in the game that are waaaay cool, but they're also sorta like "we now join our program, already in progress". This is 1945!!!! This is MAX'S FIRST RECORDING WITH BIRD!!!! And, this is live. No studio constraints or vibes, no broadcast sensibilities, this is the underground beginning to peep up into the sunshine, and boy, are they shooting to kill. And their aim is true. After 60 years of imitation, re-creation, and all the other -ations that serve to blur the reality of history, this document is like a slap in the face and a 50,000 watt shock at the same time as to what bebop was REALLY about in it's early days. Look, in a just world (never mind a simply sane one), the release of this music would be given the high profile that it deserves - numerous articles would flood all the media outlets and every musically aware fan would get a copy ASAP. But this ain't that kind of world. I was blessed with the opportunity to hear this music pre-release, and I feel an obligation to pass that blessing on in the form of alerting anybody and everybody I know that this thing is coming and that it is essential - not "essential", but essential, TRULY essential music. If there's any justice in the world, this release will win a Grammy or two for best historical issue or whatever the categories are, sales will far exceed anything else in the Uptown catalogue, acclaim will be worldwide, and the item will turn a more than handsome profit for years to come. But who knows? I think it's that big of a deal, but I'm nobody, not really, dig? But fukkit, life is short, and when the chance comes along to steer folks in the right direction, I'm gonna do it. Y'all are invited to do the same - talk it up amongst your peers, alert whatever media might have an interest in so genuine American musical history coming to light after being discovered in a flea market nearly 60 years after the fact, tell your local jazz DJ(s) what's in store for them. In other words, DON'T LET THIS MUSIC LANGUISH AND EVENTUALLY DIE LIKE SO MANY THINGS DO!!!! I've been called "enthusiastic" (and worse!) before, and, yeah, I am. I love the music and I'm not ashamed of it. But this goes beyond my personal love and excitement. This really is a release of historical import. Folks need to know. Spread the word. SHORT ANSWER: Because it's THAT good!

The world I know is becoming more and more one I don't... Sad. I saw her live a few times, and she had charisma out the wazzoo, to say nothing of being a powerful and truly gifted singer. Not for nothing did she rule the roost for decades. R.I.P. Reina

Much beauty. Congratulations all the way!