JSngry

SHADES is one of Hill's best, period.

With that vintage of a Ford (or ANY American car, truthfully), I'd REALLY consider buying a lower milage (50K or less) used Honda or Toyota. American cars really don't last as long, and as time goes by, things besides the transmission will start to go - EXPENSIVE things (I used to have an 85 Tempo, so I know whereof I speak). Figure the annual repair bills vs. the annual monthly payments, multiply by the nuisance factor of the car being in the shop, and then divide by by the comfort/convinience factor of a newer, more comfortable vehicle. If the answer is 1 or higher, think long and hard.

Then IN JAPAN might not be for you. But if you can get past that, there's some of Joe's most freewheeling, loose, inventive, and swinging playing on record. The cat was on fire, and didn't hold nothin' back. Maybe a tad "freer" than the BN stuff, but the tunes are mostly familiar ("Round Midnight", "Blue Bossa", "Out'N In" (AKA "In 'N Out"), with "Junk Blues" being the only newbie) so it's kinda like an "update" of some of that stuff, a "progress report", if you will. If you got the Milestone box, you got it already. Might as well give it a shot (or 2), maybe?

I'm hip - it's off-center yet totally on at the same time. And totally, TOTALLY personal. The cool thing about this disc is that, swear to God, the cat sounds STRONGER than I've ever heard him. It's almost enough to make me wish I could be facing death just to see how it would affect my playing. Well, OK, not REALLY...

If rent day was her only scary day, she wasn't a REAL woman... (I'm leaving now, and as quickly as possible. Between Patricia & Shelly, there's no way I'm getting out of that one alive...)

This is all foreplay. I'll bust MY nut when they do a Herman Phillips set.

You remember that DeBarge hit "All This Love"? With the really cool, soulful accoustic guitar solo? That solo was played by Mr. Feliciano his ownself!

Jim? That was J.A.W. I'm the one who made a polite-yet-non-committal reply to Mike. Btw, I'd like to see an explanation too, but the lack of one might BE one, if you get my drift...

I think I think what you think.

Jim, could you elaborate on that a bit? What is it that you are wary of? Does your statement here relate to your earlier post in this thread? Just curious. Two things, basically - "paralysis by analysis" and being so busy thinking that thinking about doing something gets confused with actually doing it. You know, like people who get religion and become so obsessed with "being religious" all the time that THAT becomes their life, not going ahead and living naturally, just with a new awareness. Different people go different ways with this kind of stuff. I've seen it go both ways - some get liberated and some... I certainly don't knock it, because a huge turning point in MY life was reading Alan Watts' "The Book". Really put into concrete form a lot of semi-formed notions, feelings, instincts, etc. that I'd been having for quite a while and "made the clouds go away." :D That's when these things seem to do the most good, I think - when they merely strengthen or enhance what's already there but has maybe gotten either lost or has yet to fully mature. Somebody who goes into it cold, or not having that much of a clue in the first place, seems to be the type to fall into a "style over substance" appreciation and execution of the material. Similarly, "working" at personal growth can go either way, or at least that's been my experience. Sometimes the work pays off, but sometimes it seem like the best thing to do is just fuck it all and get on with your life, if you know what I mean, and let things be. Things have a way of taking care of themselves sometimes. Making the wrong decision about which path to take for any given circumstance can eat your lunch, but the kicker is, you never know it's the wrong decision until it's too late. It ain't fair, I tell ya', it JUST AIN'T FAIR!

"Different", yes, in terms of lineup and instrumentation. But NOT different in terms of intensity, creativity, and everything else that matters. Trust me.

Careful there, my friend. It's not too late for me to change my selection to something of this ilk:

It's in heavy rotation on KNTU, and I'm digging it, except for the fact that Herring seems to have progressed from copping Cannonball's tone to copping Gary Bartz's. That's not enough to deter me from enjoying it on the radio, which I do immensely, but I'm less likely to spring for it because of that. A really solid, energetic date overall.

Anybody have that Bob Hope Cadet album I see on all the old inner sleeves alongside the Ahmad Jamal, Sonny Stitt, Illinois Jacquet, Jean DuSchon, Ramsey Lewis, Rotary Connection. Etta James, etc. stuff?

oooh...sending meat through the mail (and it's really about the meat above all. Sauce is, or SHOULD be, entirely optional and idealy unnecessary!) is not something I'd feel comfortable doing right now (long story...), but here's a place that will send you some DAMN good hot links: http://www.pittsburghotlinks.com/ Not as good as Earl Campbell Hot Links (but then, few things are, including all but the VERY best, uh, "conjugal relations"), and besides, Earl's Links have no link on the Web. Gotta come and get'em!

Ah, Patricia, welcome! WARNING - Do NOT attempt to one-up Patricia in verbal jousting. IT CAN NOT BE DONE! OTOH, if you enjoy the give-and-take of truly creative (to say nothing of FUNNY) banter, then meet your new friend. Again - welcome!

Totally understandable, especially in light of what must have been the near (or total!) chaos in the wake of The Great Blue Note Bulletin Board Diaspora. No hard feelings at all. Thanks for listening, and keep up the good work.

I think what Diz actually said was that they had the harmony, but Bird brought the phrasing. Listening to early Diz, that seems right - he's got the harmonic stuff going on, but is still phrasing very much in an Eldridgeian manner. Even on the Minton's recordings. 'Twasn't till after he hooked up w/Bird that he became the Dizzy that we know today. I think the KC guitarist mentioned above was named Efferge Ware, but the guitarist Bid was working with in a chilli parlor (!) when he had his harmonic "breakthrough" was Biddy Fleet. Bird also credited Buster Smith quite a bit for giving him some ideas, as well as KC saxophonist Tommy Douglas, who, I think, Bird credited with hipping him to the upper extensions of chords. And of course there's Prez. There's ALWAYS Prez, thank God. I DO think that Dizzy had a significant musical role in that he took what was essentially a jam session music and gave it viable structures that could be recorded and performed in a manner suitable for "public" consumption. DeVeaux goes into this, and it's no small feat - consider the problems that post-Ornette jazz has had finding a "general" audience, at least partially to it not having recognizable frameworks to put around the improvisations (just an observation, definitely NOT a value judgement). Dizzy, however, credits Monk quite heavily as being one of, if not THE main cat to come up with new changes and substitutions. But Monk was never in the public eye until the Riverside years. Before that, he was less than a rumor to the jazz public at large. You want to throw out another name that made a contribution early one? Ok, here's one - Budd Johnson. Trummy Young shows up on a lot of those "swing-to-bop" dates, those fascinating documents where you can hear the music's evolution in progress. Also heard on more than a few of those dates - Billy Kyle and Don Byas. Tatum, Hawk, Roy, any of the Swing Era musicians who were dealing with harmonic complexities beyond the norms of the day, ALL deserve credit as formative influences (as does Duke, for both his music AND perhaps even more importantly, his ATTITUDE). The music WAS going to change, WAS going to get more "complicated", WAS going to become more "purely musical and less "functional". The indicators, musical and social alike, are all there to be seen by the historical eye. And the music actually took several different routes in this direction apart from bebop. But in my opinion, it is Bird who was the figure who crossed all the "T"s and dotted all the "I's about what the music that came to be known as bebop would be at its core, simply because he defined the rhythm, the phrasing. You can, and DID, have cats doing all kinds of harmonic and structural voodoo, but it ain't "bebop" if it ain't got that bob-and-weave phrasology to it, and by all acounts, that came purely from Bird. But really, this is the kind of "bar talk" that is fun to engage in, but ultimately proves nothing - all jazz, including "bebop", is really a collective tale, told in a collective tongue spoken in an infinite number of dialects. Anybody, ANYBODY, who told a personal tale that was heard positively by other musicians deserves credit as an influence, and I'm willing to wager dollars to doughnuts that there's more than a few who never recorded, and even some whose names are TOTALLY lost to history. So if I name Bird as the "main" formulator of "bebop", that in actuality has about as much meaning as if I say that the tree on the east side of my front yard is more "important" than the one on the west, if you know what I mean. And hey - shouldn't the material (either the LP or, ideally, the more complete CD version) on Stash's BIRTH OF THE BEBOP be made available in perpetuity?

ATTENTION ALL LOVERS OF JAZZ: YOU OWE IT TO YOURSELF TO SEE THIS MOVIE: Even though it's about tap-dancing, the stories told, especially Sandman Sims' raps about getting your own style, and the Lester-Young-converted-to-dance work of the incredible Chuck Green, to say nothing of the looks in Bunny Briggs' eyes, make it simply one of the best and truest movies about jazz ever made, if you know what I mean. Sandman in this movie is spectacular, and the three dancers, all accompanied by a Lionel Hampton big band, form a perfect parallel-in-dance to a portion of the evolution of jazz: Briggs with the flash and crip elan of the Swing Elan, Green with his Prezish otherworldiness, and Sandman with the brash fire and self-challenging complexity of bebop. The stories of each man's career also carries an eerie parallel to those of so many jazz musicians. I've lost track of how many times I've watched this movie since taping it off Bravo a few years ago, but I swear, it grows MORE mesmerizing with each viewing. And if Chuck Green's solo over the closing credits doesn't leave you in a goosebump covered trance... :D Highly, HIGHLY recommended. Bubba says check it out. R.I.P. Sandman, and thanks. You were the real deal.

HELL YEAH!!!! I'm not looking to drag this out, but the reason Mike gave for not responding to my e-mail doesn't quite ring true, seeing as how I had been in touch with him several times the day before regarding problems setting up the account. Plus, the heading on the email read Board Protocol and the message read: Hi Mike, thanks for getting me set up yesterday. A question - I am a professional musician w/a band that has CDs for sale. We are not amateurs or part-timers. We are serious, experienced, and do all original material in the post-Ornette vein. Dallas is our home, but we are trying to get out of this musical ghetto (even if it is into another one ;-) ) Does board protocol prohibit me from posting about our band's CDs and offering ordering information? I have no intent to use your board as nothing but free advertising. Trust me, I can and will bring some meat to the table when it comes to jazz discussions. My history on the Blue Note board will bear both points out. I would just appreciate the opportunity to notify people of the music's availability, and discuss it if, and ONLY if, that discussion is solicited. If the general membership complains (and I know that the ex-BN contingent won't), then I will respect that sentiment and not go down that road. If you have doubts as to the music itself, check out samples at www.musicaconcarne.com or ask Chuck Nessa or ANY of the BN-exes. They will vouch for both the music and my personal ethics. Several BNBB people have purchased our CDs as well, and are more than pleased with them. Thank you for your consideration. Jim Sangrey (JSngry on your board) I know the guy's busy, and it's entirely possible that he just overlooked the e-mail. No problem. But considering the timing of the e-mail, and the fact that I sent it from my home e-mail (which has no "business" indicators at all), somehow the victim-of-an-anti-spam-program explanation... Anyway, AAJ is a good site, and provides lots of exposure to a music that definitely needs it. Far be it from me to feel bad about THAT. But my personal BBS preference remains for this board, run by actual musicians, cats who have a simpatico to the realities of this music and its accompanying bizness that makes me feel good about being here, like I'm hanging at a site sponsored and run by truly kindred spirits.

Welcome, grey!

Stained glass Elvin? Coolest thing I've seen in some time. Where'd ya' get it RT?

DUDE! If WE had ....

Uh, is it by Billy Martin?