JSngry

"Canon" severs the head, discards the body, and what the hell are you supposed to do with that if you want to walk about freely and joyfully, commune with a bunch of severed heads and ignore the stench of dead bodies? I think not

I would take "brown bag" to mean BYOB? They would need a license to sell/serve alcohol, right?

Dexter always had "charisma" and he knew how to use it...except for those lost years. But otherwise, he had a product in himself. People looking for a product to sell, he made it easy for them.

Just happy that it wasn't literally a note slipped under the door. That creeped me out because...life can be cold when you can't push back. All the best with all of this, for all concerned.

They slipped a note under his door? Are they answering the phone?

What are Dave Liebman & Steve Grossman doing in that picture?

...maybe it's time for some electric prunes, to bring it to pass, this critical mass, held by Pope Bitchemoaner

Fred Ho Chi Minh Tuyet Steve Austin Powers Boothe Caesar Augustus Pablo Casals John Gary Sandy Koufax Phyllis George Of The Jungle Brothers Tiny Tim Conway Twitty Faron Young Dolph Briscoe

Jay Berliner Harry Belafonte Milton Banana

This, there

Resit metered parking!

Leslie Gore never bothered me, I enjoyed the tang of her overdubbed unison's. For real.

Do a cobra eat squirrels?

Don't look for the media to be your uncle, they got zero interest in that gig. Ain't no paycheck in that gig!

It was, but then they changed it to the Leslie Gore stuff without telling anybody. Fuckers.

https://www.wfaa.com/article/news/local/grand-prairie-cobra-twitter-now-sparring-mongoose-because-of-course-snake/287-501f0182-4084-48a0-9509-139d6a87bc71

THIS!

Even otherwise knowledgeable jazz aficionados often seem unwilling to fully give it up to Q. This reflects a bias against his gilded pop music career and an overreaction to his use of ghost writers in the ’60s, particularly Billy Byers, when Jones was building his career as a Mercury Records executive and morphing into a brand name. The defense is straightforward: Everybody used ghost writers when deadlines demanded it. The brilliance of Jones’ documented catalog is unimpeachable, and at the peak of his jazz career in the ’50s, he was grinding out every bar himself. Bravo! If there must be "executives" (and for now, probably forever, there probably must), why complain when some real talent enters that world? Not just enter, but excel? It's a different world, with different rules, but such is life. As far as I know, everybody got paid fully and fairly, and whenever fine print was called for on the records, fine print was there, and the words "arranged by" were never used inappropriately ("orchestra conducted by..." does NOT mean the same as "arrangements by..."). Not everybody did that, so to the naysayers and sourgrapers….kwitcherbitchin. The man did it and won at it. You get your checks, he'll get his.

It exists. It's just not got Professional Gigs doing such. But you hang out here, you pay attention, you can learn stuff that The Narrative Industry won't be bothered with. Whatever I knew coming into this place, it's like...exponentially more now thanks to the lifers who live/have lived here.

ce jazz noir est en feu!!!!

Lester "Prez" Young, whose relaxed and fluid tenor saxophone played high on the register gave birth to several dozen imitators... But why does that make him a "genius"? Too many (damn near all?) of these people who make lists of "genius" don't seem to have too much of an idea of what genius in music actually, maybe because they don't really understand how music works. You want to talk about Monk & Prez and their geniuses, you need to get into their architectures and physics, how they created real/provable new concepts of space and shape and time itself...and color, which is another physics, sound paintings...not just a turn of phrase, it's a real physical thing. You use sound, time, space, shape, you paint a picture and tell a story. Elements of aural language actively engaged, very real things. It's an Oral/Aural Culture. These type guys don't go there, but it's there for them if they wanted it. But I guess, you know, music is ultimately a hobby for them. Their gig is writing about their hobby. Nothing wrong with that, it's useful enough and is sometimes actually entertaining. But writing about "genius"...no, just stop doing that. Write some more about whatever happened to Jacy Parker, do that work. Also spotted this absurdity: Coleman Hawkins, whose earthy tenor saxophone and eely improvisational style... No goddamit - Bud Freeman was The Eel. Shouldn't have to tell this to people.

I prefer to think of it as the undervaluation of Jellly Roll Morton and Sidney Bechet relative to Louis Armstrong. But, you know, Louis got a Narrative Industry working for him now (and has had one for a good long while, to be honest), those other two, hardly an at all. And this is what happens with that. Louis should never be undervalued, but if the plate needs to be bigger to hold all that belongs, then make a bigger plate dammit.

Thelonious Monk, whose lurching, child-like piano style not only was complex and impossible to duplicate... gack

It's The Marc Myers List Of Jazz Geniuses. The criteria is in the name!

Neglected genius is a real thing, and a list like this doesn't help any. Besides, genius and impact are by definition two different things. Marc Myers whiffs again.