JSngry

Red. Does he have any leader albums as Kyner?

You're a freakin' EVIL GENIUS, you are!!!

Or in the words of Hank Hill, "BABY WANT A BOTTLE? A BIG DIRT BOTTLE?"

Do you feel like Kal-El and Jar-El watching Kryton explode from afar? Last time I looked, the last post was a response to lp by Franz Vichi. The old threads might, MIGHT remain archived and available. It's so wacky over there now, I'd assume nothing one way or the other.

FINGERS is just a really cool, really groovin', somewhat wack Airto album. Hip tunes, great solos, and very "Brazillian". Nothing at all like his other CTI album, FREE. HIGHLY recommended!

I've got about 5 snappy retorts ready, but out of respect for good customers and cyber-friends, I'll let sls make her own joke, if she wants too...

For me, the two (mainly the first) Hubbard/Turrentine things (Stanley almost sounds "out" in spots!) and FINGERS are the "essentials" of the bunch, although AFRO-CLASSIC is a really well-done date with some interesting writing and some great flauting by Laws. I'm just not that much into Laws as anything other than an "appreciative" experience. But hey - FINGERS is BADASS! (and jazzbo, it sounds SOOOO much better on CD than on a wornout LP!)

You know, the most accoustically perfect gig I've ever played, including some halls, was in an office building, a huge warehouse affair that had been extremely cubicled and corridored off with padded dividers, and an approximately 20 foot ceiling with exposed duct work. I don't know enough about accoustics to know the hows and whys, but that environment just SANG! This was with an electrified pop band w/3 horns and 2 singers, and everybody sounded unamped, and right next to you, including the singers. Amazing... I sounded the owners out about recording in there, after hours, but they weren't interested. Too bad

Thanks for that quote, Jim. Elder Van Gelder musta been a pretty hip guy his ownself!

I think I know (most of) that one. It's a good song, if a bit more "traditional". Thanks for that tip!

If you do vinyl, keep an eye out for Redd's early-70s Mainstream album. It's very nice.

Tricky question, this one. The music of the "October Revolution" school of the avant-garde wasn't necessarily "about" making music by and with an all-encompassing use of conventional techniques. It was more about energy and spirit, and those ends needn't require conventional technique. As a long-term philosophy, it's doomed, but again, that music wasn't about long-term, it was about NOW. If you can get into listening to it with that in mind, it's (mostly) all good, even now. Anybody who was around for the first wave of Punk should know what I mean. Now, cats like Cecil, Ornette, Ayler, those guys OBVIOUSLY had/have command of their instruments. People who think that Cecil "just bangs" should listen closer at how PRECISE those "bangings" are, and how much EXACT repetition is involved, FLAWLESS repetition, not even a minute flub. You've got to know your instrument DAMN well to pull that off. The Second Wave, however, had it's fair share of players who had enough chops to do what they wanted to do but were not total virtuosos. As far as I'm concerned, that's good enough. Especially if the player is willing to suffer the consequence of hitting a wall in terms of his/her expression being limited by their technique. Arthur Doyle comes to mind. He SEEMS to be EXTREMELY limited as a saxophonist, and I myself have a low tolerance for his work, but dammit, he MEANS it, so he gets respect from me for THAT part of it. Again, it's a tricky, almost deceptive (unintentionally, I'm sure) question. An instrument is only a tool. ONLY a tool. It exists to serve the purpose of the player, and that purpose may or may not involve playing "traditional" music by "traditional" means, and that's a honorable tradition in Jazz and other musics as well. I know classical violinists who really have to work, work HARD, at double stops, but Country Fiddlers do it almost without thinking. And take Pee Wee Russell - was he a "traditional" virtuoso? No, he took an instrument and basically found a new way to play it. Many of the 60s A.G. were functioning in that same spirit, even if they were not functioning in the same reealm of harmony and structure. As long as you can make the instrument say what YOU want it to say, and as long as you're willing to accept responsibility for confused or hostile public response to it, there IS no such thing as "bad technique". THAT exists only when intent and execution are at odds with each other.

"I'm looking for it!", he says. And then, whilst doing some websearch before he commits the faux-pas of assumung that the book is OOP just because he has not been able to find a copy for the last year-plus, he makes a startling dicovery. "HOLY SHIT!!!!", he silently screams. "THE WHOLE THING IS AVAILABLE FOR ON-LINE READING!!!!" http://www.musicweb.uk.net/RiseandFall/ I'll be reading it. Guaranteed.

This is what I don't understand. How is there any LOSS for them? Surely they've got (or at least had) pissant staff on hand who handle what they consider "insignificant" work, so where's their expense of any degree? What am I missing?

There's still cats around who recorded there. Byrd and McLean are the first two to come to mind. I'm really curious as to the layout in that room in his parent's house. I've done my fair share of "living room" recording, and it sounds NOTHING like that! And seeing that (apparently) mirrored wall might explain why. Wonder how many walls were so covered?

John, the only name on that list I know of is Maceo Woods, and that's by name only. Agreed - gospel organ is a style unto itself. The organist whose records I used to hear on the radio would do things with volume and changes in stops mid-phrase that I've never heard ANY jazz organist do, and the vocalized attacks he/she would use could only be decribed as Holy Grease. A search for organ records from the Hard Gospel age has proved fruitless so far, but I'm determined to get some someday, some way.

Going back a ways (and BTW - agreed, SERIOUS GOLD is very good indeed), how are Ray Noble's orchestra sides? I know that his was a "dance band", but anybody who could write "Cherokee" & "The Very Tought Of You" obviously had a bit on the ball harmonically, and I'm wondering if his dance band sides were of any particular distinction within that genre? Bonus question (in search of an answer) - Did Noble write any other "standards" besides those two, or, for that matter, any other particularly distinctive songs that an inquisitive songhunter might be delighted to dis/un-cover?

Chuck, could you provide similar assistance for Anthony Braxton titles?

Intentionally or not, you have just paid your husband quite a compliment...

I've got a 17 year old who knows more than everybody except himself, and a 12 year old who thinks she rules the world. Where the hell are we? Ork?

You know, his parent's crib? I was asking becasue I was looking at the photos in the booklet for that Japanese disc of COOL STRUTTIN' alternates, and there's a picture of Clark, Farmer, & Jackie checking out a chart in some kind of mirrored corner. You can see the reflection of Wolff's flash in the mirror. Totally cool shot. The venetian blinds are world famous, but right off hand, I don't recall ever seeing the mirror until this shot, and that got me to thinking - what ws the layout there? Was it a living room. a rec room, just what was it, and how did they make it work, what with blinds and mirrors? Anybody know?

Just ONE acre, Bill? Talk to me, I'll give you one HELL of a deal!

The way he ended up, I'm tempted to say that, like so many, he used his music to "be" the kind of person that his inner demons wouldn't allow him to be in real life, to conquer them, if only momentarily. But maybe that's just a "romantic notion" type thing...

No shit, my friend, no shit! Better look out for that Gospel music, man - it WILL turn you out! (experience talking here!) Soul Stream - you recorded with Doyle Bramhall? I work with his brother Ronnie every once in a great while. Is there a chance that our paths might have crossed?

The humility and "spirituality" of these writings contrast sharply with the portraits of Lucky in the Central Avenue days as a vain, cutthroat, self-promoting SOB, don't they?