JSngry

I have nothing to say on this topic, but Blue Note is shafting the Organissimo Board BIG time. http://www.bluenote.com/bulletinboard/ubb-...i?ubb=get_daily

Fair enough, but have you heard "Blood Count"? Ain't NO sweetness there, just a devastating portrait of a sick man's last few days, right down to his dying breath. Every rule has an exception, right?

Yeah, me too. Reminds you that a lot of guys got into the business out of a true love for the music, not like today's "careerists" who think purely in terms of numbers and product. Fuck THEM! Dorn may (or may not) be a lot of things as a businessman, but I don't think anybody questions his enthusiasm for the product that he handles so (seemingly) ineffectively, and that means SOMETHING to me. More than a little, actually.

HARVEY!!! Used to read his writing in Down Beat long before he became "famous" as a cartoonist. Gonna run the risk of throwing this thread off track, but you know who else used to write for Down Beat in the early 70s Leonard Maltin. Yes, THAT Leonard Maltin. In fact, he wrote a profile of the Duke Pearson Big Band that I've got lying around somewhere.

First noticed this "trend" back around 91-92 when I took my then preschool age son to see the then-new Jetsons movie. The cahracters still looked the sme, but they no longer "LOOKED" the same. Everybody was now being drawn with shadows and shadings and all other kinds of "improvements". Hell, I even saw a Ren & Stempy commercial last night and THEY had been drawn with the shadings. Well, I say stop it. STOP IT. STOP IT. STOP IT. STOP IT. Please. Draw the new stuff any way you want, but leave folks like the Jetsons and the Flintstones in good old flat Toodeeland. I'm sure that this new "improvement" is due to computerization, and that if you ask Jake Hanna or Yogi Barbarra, they'll say that this is the way they wanted to draw them back in the old days but it was time/cost prohibitive or som other kinda we're=so=glad=to=have=machines=to=do=the=work=of=people=so=we=can=pocket=the=savings=ourselves=sucking=of=the=digital=cocque, but whatever. Save it for the dummies. Just stop trying to make flypaper look like shag carpeting, ok?

Ok, that's cool, they're back, we're back, it's back.

It's Sunday afternoon 6:30 PM CDT, and the site has been unavailable for several hours, just now coming back up. Am I the only one?

The lovely and talented Brenda's maiden name is Barnette. But she's adopted - or so she says.....

Thanks for that clasrification, Tony. It indeed sounded out of character for Dickerson (although stranger things have happened!). As for Frey, I supposed in theory he's innocent-until-proven-guilty, but it's such a long tradition that the fact that his name shows up is evidence enough for me, and any burden of proof otherwise lies on him (or whoever remains to tell the tale). We got a saying in these parts - "Fool me once, shame on you. Fool me TWICE? Shame on ME!"

Most likely.

Dmitry, did Walt make mention of this date at all when you talked to him? The charges that he co-opted some composer royalties are not trivial, and I'd like to hear his side.

Here's actual prison photographs (seriously!) of Aminia paying that bebt: The leaded life she lead before the tragic killing of Williams can perhaps be explained by the fact that she was born with a tail, and kept it well into adulthood: Only through a bout of "rough sex" with Jan Garbarek outside the ECM studios was the tail removed. Apparently the appendage had become frozen (Garbarek was notorious in those days for his kinky, some say compulsive, attraction, some say addiction, to subzero sex, even mentioning it at length in his forward to the Nynorsk translation of "Tropic Of Cancer"). A particularly forceful thrust by Garbarek snapped the bothersome mutation off, cleanly, bloodlessly, never to haunt her again. Whether or not this occured during a Goulet/Branson session has not been officailly documented, but given the timing of those dates and Longet's subsequent series of high-profile tailless public appearances, it seems likely. Fortunately, an unnamed photographer heard the screams and moans coming from outside the studio, and rushed to see what all the ruccus was. This photograph captures Longet and Garbarek returning from their tryst, the look of physchosexual triumph visibly evident on both their faces. That's the stump of Aminia's tail that she's holding in her right hand.

Or was that from "Fondled Frankly" by Frankie Copafelia? Those two sides came out so close together I can never remember which was which.

...from the album "Fondly Fondled" by Frank Fondell and the Feelups, no doubt...

A sidenote: in the liners to "Coming Home Jamaica ", the AEC thanks the Odwalla Juice Co. for "a funding grant" and "ardent support". So, DRINK ODEALLA!!!

That Claudine was fond of fondling, wasn't she? At least until she found God and changed her name to Aminia. She also founded the Longet Symphonette Society and pioneered box sets. No Longet, no Mosaic. Simple as that. So here's to Aminia Claudine Longet, a TRUE patron of the recorded arts!

Ooops, yeah, the Hamilton might go OOP before the Tristano. The Hamilton would be a good buy too, but my thing with the Hamilton PJ stuff is that after Collette & Hall were replaced by Horn & Pisano, the music took a pretty steep dive from being a truly original and provocative "new sound" into being sterotypically ""West Coast", "foo-foo" clichedom. Just my opinion, but I can listen to the original Hamilton Quintet seemingly forever, whereas the later PJ units (excluding the Dolphy one found on ORIGINAL ELLINGTON SUITE) have me gritting my teeth in a matter of seconds. OTOH, the Mosaic includes a shitload of live material by that original unit, so that's a plus, and a big one at that. Too bad the concept couldn't have been stretched to include Hamilton's PJ TRIO album w/George Duvivier and, on different cuts, Hall or Howard Roberts. That one is even more original and startling than the best Quintet stuff, and shows Hamilton's innovative side at its very highest level. It's on my short "hype whenever possible" list, along w/Hadley Calliman's IAPETUS (hmmm...another California thing...) and a few other undeserverdly neglected (and unreissued) idiosyncratic gems. Requests to Cuscuna to get it out SOMEHOW stateside always come back with "not likely", so the Mosaic would have been the ideal spot for it. But no. Too bad indeed. Too damn bad... All said though, I'd still go w/the Tristano, just because I think it's much more consistent, holds a greater continuing historical relevance to the music (the Tristano trip has slowly but surely been finding its way into the jazz mainstream over the last decade or so, quiet as its kept) and, ultimately, because Kenny's got a radio show and the world needs to hear all the Warne Marsh it can.

It's all about revenge and the bling-bling, baby, and Bert be the reelafizzle shnazznittlewhizzle. Yall really should pay attention to Lezza Gibbons....

Bert, being the crafty buisinessman that he is, had a setup for a sequel built into the ad.

Then the NyQuil hype (not yet available for public screening, sorry, I tried)

Oh ye of little faith!

BAP-TIZUM is a live set recorded (I think) at the Ann Arbor Blues & Jazz Fest and is crackling with vim, vigor , and vitality. Anybody who digs the AEC should have this one, at least in my opinion.

Excellent. Purely excellent.