JSngry

Speaking of Clyde Stubblefield, I was shocked to tune in that NPR show WHADDYA' KNOW (or something like that) that airs out of, where, Wisconsin?, to find out that the drummer on the show, apparently the HOUSE drummer for the show was none other than Mr. Funky Drummer hisownself. It was a "jazzy" trio, nothing special, and Clyde sounded adequate. The last few years, I haven't heard him on there, but that's where he was for a while, apparently. Go figure.

That's the one with Topsy. The Mosaic Tristano/Konitz/Marsh set is pretty much a "must have" if you're digging this stuff at all. For later adventures of this duo, check out the three volumes (indivdual) discs on Storyville recorded at Cafe Montmarte in December of '75. They're call WARNE MARSH-LEE KONITZ QUINTET, VOLUME (X). Some pretty heavy stuff going on there. Warne's a particular favorite/god of mine, and I'd recommend pretty much anything you come across by him. Lee's one of the most prolifically recorded musicians in the history of jazz, so finding SOMETHING by him shouldn't be hard at all. Two of the most distinctive and creative voices jazz has produced, as far as I'm concerned.

Did you read the instructions?

To paraphrase Kelley LeBrock (or whatever her name is). "don't hate me because I'm anal", but those LT sides were originally on ABC, pre-Impulse!

I kinda like the Les McCann/Gerald Wilson version myself. As well as the composer's version. I hear a killer instrumental version a few nights ago, but I can't remember who by. Tenor player. It'll come to me.

In Dallas, THE after-hours joint was called The Green Parrot, and it was an organ room. 'Nuff said. Kinnagetcha a drink while I'm up?

It's more than odd, it's ignorant. The guy was a virtuoso of staggering proportions on all three of his instruments. What he did facilitywise on bass clarinet alone is really awe-inspiring, and, as far as I know, unprecidented (if I'm wrong, somebody PLEASE let me know). Just goes to show you that criticism, be it of intent or facility, is often based on ignorance. Not always, but often.

My feelings on this matter are well known, so this poll is....

Let him live a while with two other dogs named McCoy and Elvin, and take them away about a year before he dies.

Dude, I need to clean my glasses. I though it said I was a

STOP IT!!!!! STOP IT!!!!! STOP IT!!!!! STOP IT!!!!!

Well, my wife uses it on me all the time, why shouldn't I use it on her? Tasteless, I know. I'm sorry.

Go away, big head baseball player, GO AWAY!!! Brrrrrrrrrrr.......

Hey Soul Stream - you ever play at Sonny's Coctail Lounge on Grand in South Dallas? First time I played there, I came in through the back room, and there was a poker game in progress. The table was covered w/cards, $100 bills, and .45s. The owner looked at me to see if I was looking at the action, saw that I was, looked at his gun on the table and then back at me, smiled, and said, "Good to have you here. Go on through. And please use the front door from now on." Never had a hassle at Sonny's, nosiree Bob. The money was always there. Same thing playing Billy Ray Maddox's various clubs in Ft. Worth. The main one, Billy Ray's, was a nice place, very fancy and upscale. Denise LaSalle came in one night and sat in. Way cool. Talent show nights were a drag, though (another story entirely...). But Billy Ray ran this OTHER club, the name of which I forget, that was a front for a crack house. You'd be playing a set, and cats would come in w/TVs, VCRs, cartons of smokes, produce (really!), ANYTHING they could move to get a rock or two. I saw things in that parking lot that left me torn whether to laugh or cry. Cat tried to sell me half a PACK of cigarettes one night. HALF A PACK! He started the bidding at $5, no less! Never had any problems there either. Billy Ray was feared by his customers, but loved by the community because he donated a lot of money for parks, rec centers, and stuff like that. Classic gangster dichotomy. When he got finally got busted and convicted, there was an uproar in the community, maybe because they feared that whoever moved in to take his place wouldn't run as tight an operation. Sometimes it seems that a significant part of my career has taken place in a Dolemite movie...

Golden Crest was (is?) an eclectic Long Island based label that specialized in classical and band music, but one that also released calliope recordings, "how to use your tape recorder" type instructional records, and other "oddball" material. I don't know if they're the same Golden Crest that released The Wailers "Tall Cool One", but a little websearch suggests that it is. The only other jazz recording I know of them releasing was a 70s thing by Carmine Leggio. The Jones session was probably done specifically for Golden Crest, that would be my guess. Long Islands's funny that way.

What about "other" and/or "none of the above"?

These heads is too big! Brrrrrrrrrr.....

They do me.

Mmmmmmmmm indeed! Why do you think I'm still lapsed? The protein issue is really no biigie though. Beans and rice combined give you your total protien, and there's a variant of that w/every meal. Got any idea of haw many different types of beans/peas there are? It's vast, I tell you, VAST! Throw in the miso and the tofu, and you got got more protein than you can shake a slab of slow-cooking baby back ribs at!

Too many to mention, but two one that most recently got resolved were Tyrone Washington's DO RIGHT (BIG thanks to somebody for providing the LP) & Joh Patton's SOUL CONNECTION (The same guy who provided me w/a CDR sent me a tip about the LP being at Dusty Groove a few weeks later!). Next on the "settling the score list" - WELCOME by the Ethnic Heritage Ensemble on Leo. Never had a chance to buy that one, but I borrowed a copy for about 5 years, taped it, returned it before we had to relocate, and lost the damn tape in the moving. You can run, WELCOME by the Ethnic Heritage Ensemble on Leo, but you can NOT hide. I WILL track you down!

I sleep when I can, and when I have to. ONLY then.

I pretty much agree. The raw expression of emotion does have it's place, and it can be very satisfying for musician and listener alike as a "vent", a "ain't no other way to get this out now except to do this". But after you've successfully vented and everybody feels better, where do you go from there? What do you do for an encore? And who's going to want to hear it? The rawness of some of the 60s A.G. was necessary, I think, given the times, and given the failure of a lot of "straight ahead" jazz to accomodate both the tension of the time and the growing awareness that linear time and forms were not the be-all and end-all of reality as humans could experience it. The urgency of the times in both these regards led to the hunger for the "now", not the "take our time, get it fully together and THEN do it". It's 1965, Trane, Cecil, and Ayler are splitting the atom, the whole world's on fire, and you're going to shed really heavily for 5 years just so you can have "chops"? Not an option then - it had to be NOW. But now passes, like it inevitably does, and what then? Those who relied entirely on energy and passion to carry the day found themselves with extremely limited options, both musically and careerwise. No doubt a lot of bitterness ensued, but such is life. The new vocabulary survied, often brilliantly so, but those who utilized it the most successfully, in my opinion, were those who took it at more than face value and created a context for it other than merely a ventfest. In this regard, the innovations of the AACM were enormously valuable. They realized that there was a place for the vent, but that the vent was not the be-all and end-all of music in general, and this music in particular. So they recontextualized it, set about creating, as you say, more "objective" contexts for the vocabulary, and in the process incorporated pretty much the entire spectrum of the music. Even created a few of their own. Same thing about Cecil. Cecil has NEVER been about random venting. His music has always had structure. Not always the traditional linear forms, but form nevertheless, usually in the form of "cells" that are dwelt upon, examined, before moving on to the next one, the end result being a "journey" of sorts. If venting goes on within the developement of each cell, then good. But the vent is NOT all that is going on - it's part of a larger design, a consciously designed form. I also think that it ws the unrestrained, often collective vent that Sam Rivers was referring to. Anybody who spent the better part of a decade, like Sam did in the 70s, playing TOTALLY improvised sets that nevertheless had form and contour when it was all said and done, is aware that "freedom" means MORE responsibility, not less, and that a big part of that responsibility is to create a coherent larger design. Ayler's best work had this design, as did/does pretty much ALL of the "free" music that bears repeated listening and examination. Don't get me wrong - I love the vent, love to do it, and occsionally enjoy participating in it as a listener. It's got value, but that value is nearly always entirely of the moment, not for all time. If the expression is ENTIRELY of the moment, so will be the appreciation. To expect more is to expect the unnatural. Of course, there's always a market for the unnatural...

I've worked so many "free" jazz gigs that almost actually WERE free to lose count of. When breaking double digits is cause for happiness... Lowest paying "regular" gig since turning "pro"? $25 to do a blues gig in an Ethiopian restaurant. It was supposed to be $50 (WOW!), but the owner decided that "Just A Little Bit" was all he could stand and sent us packing after the first set. Why the hell he booked a blues band in there in the first place, I'll never know. Then there was this gig I did in Albuquerque way back in 1982. Cat calls me up at 5 in the afternoon for a 6:00 hit. It's a wedding, and it's playing standards and what is now know as Tejano. $100.00. Cool. Get there, and the leader is this guy who plays keys with his left hand, and trumpet with his right. Each hand is less competent than the other. He's drunk at the beginning, and proceeds to get even more blasted as the night goes on. Apparently the alkyhol is hindering his hearing, because he's constantly turning himself up all night long. Spinal Tap goes to 11? This cat STARTED at 11 and went up to at least 53. By the end of the night he's putting his trumpet in his eye instead of on his lips, and more than once his keyboard nearly got knocked over when he went to paw at it to find a chord. ANY chord, maybe even the occasional right one. End of the night comes, and he's forgotten his checkbook, and he'll be right back. Yeah, right... Never even bothered pursuing the dough - I'd rather not get paid than to see him again and be reminded. Some scab gigs is cool, and some ain't. This one wasn't. Live and learn. (B-3er - assuming that your original deal was at or above scale, this is an instance where the Union could have been of assistance had you had a signed AFM contract. Theoretically, anyway.... Just a thought.)

Speaaking of Hank/Thad, my "favorite" Hank Jones on record is a perhaps odd choice - Dexter Gordon's CA'PURUNGE on Prestige. Not so much for his solos, which are fine enough, but for his accompaniments. He really lays out some thick, somewhat dissonant chords in his comp that very much resemble Thad's big band voicings. It's far from Dexter's best effort, but I find myself listening to the album more and more just to hear Hank's comp.

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