JSngry

What have the fake dead ever done for me?

Stop posting 'clever' posts on fake obit threads. We rely on each other. Ah ha.

That is one of the best-recorded records of that size ensemble I've ever heard. Of course, the band playing so freaking together in every way helps that along, but yeah, that's a good record to listen to!

That they announced it onstage at Lincoln Center in the same breath as Jimmy Heath & McCoy Tyner seems mondo bizarro to me. The Internet shows him still alive, and so, it says, is Thelma Camacho. Somebody should ask her. Or Dolly Parton. between the two of them, we should be able to get a straight answer.

Seems pretty much essential listening for those so inclined, especially the earliest tracks.

So you're saying, know when to hold 'em, know when to fold 'em, correct?

He probably just dropped in to see what condition his condition was in and actually found out. His last words, reportedly screamed with all the remining power he had left, were. "IT WASN'T ME WHO STARTED THAT OLD CRAZY ASIAN WAR!!!". And then, having picked the finest of times to leave us, he died.

And oh by the way, what happened to all of those rural/semi-rural hospitals that used to be there? Facilities to be mobilized in times of emergency, only...

Here's a thought, although obviously too late in the game for this year - leverage the whole "work from home" concept and develop a program of streaming content, both from the festival itself and from the artists' homespaces (when they can't travel for whatever reason). Still make physical attendance the best deal by twisting the whole "web-exclusive content" notion on its head by offering live-exclusive content. Develop some kind of goodwill relationship with the local hospitality industry so that they get some kind of a piece of the virtual ticket pie, maybe use that to leverage a better room rate for physical attendees earlier on. It sounds like the festival has gotten enough profile to maybe look for reciprocal tech agreements to make this happen, even to a limited extent. A festival for forward-looking music should do well to consider an equally forward-looking delivery system. I don't see "the world" becoming "normal" again in my lifetime. Between diseases, madmen, and climate (or is that all the same thing?????), get out in front of this shit sooner rather than later, just do not let your audience be denied. Now is definitely not the time for that to happen. Lemons/lemonade/etc.

Probably becuase...:https://en.wikipedia.org/wiki/Spaces_(Larry_Coryell_album) The first day was strange’, said Larry, of the sessions. “because Chick and Billy and John had just come from…sessions with Miles. They had definitely been taking some different approaches to the music at that session, because when I threw down the first piece, “Tyrone” by Larry Young, the cats did not play it straight. They were all going into outer space…Almost nothing we played that first day made the cut: it seems as if we got most of the music that went on the record on the second day. It just took a while to get comfortable with each other and the material… Sounds like they had to downshift (dumb down?) to play with Coryell. At least Watanabe gave everybody their head, even if it meant him getting swallowed up whole on his own record. I've always respected him for letting that happen.

I bought most, if not all, of them as LPs at some point. But truthfully, at the time, they got to be too much of a good thing to really make an impact after 1976-77 or so. Stanley Crouch, who was then an ardent champion of the Loft scene, referred to Tyner becoming "the pentatonic Oscar Peterson" in a Village Voice column of the late 70s(?), and although that struck me as being totally disrespectful, it also bore just a little ring of truth. Here's a later one, post-Milestone, that I missed at first, and the loss was all mine. Released in the US by Verve and certainly worth finding.

OMG! That was one of the first 100 or so jazz records I bought, out of a cutout bin. Talk about getting pissed off...even then, when I was at my peak of enthusiasm for ANYTHING "jazz-rock"-y, I knew something was horribly wrong, not just with Coryell, but with Arnie Lawrence. Lawrence was (ultimately) too corny, and Coryell was just too...weirdly random. One of the first jazz records I bought, and one of the first ones I sold, willfully and gleefully. Re-bought it again a few decades alter to listen to Davis and Haynes to see if they could override the effects of those two, and....nope. Too bad. I should be able to enjoy richard Davis & Roy Haynes playing together without qualification. At least you didn't find a video of "I Wish I Knew How It Would Feel To Be Free" off of that same record. Hopefully it's not available. I need reassurance that even The Internet has a tiny shred of decency left! I'm a little surprised that you Coryell buffs don't make mention of Spaces. That's another one that is just too....too. But at least it's of "historical interest". As is, on a somewhat completely unrelated note (other than both been released in the US on Vanguard) this one, recorded around the same time as Spaces.: check the actual recording date: People were hellbent on taking no prisoners there for a little while...

Only if you are not tuned in to the rhythms and cadences of "that kind" of speaking. ESPECIALLY if a micro-second of the beginning and/or ending sound of the word is left intact,

Whatever other faults Larry Coryell might have/have had, musically and/or personally, not taking care of his hair has never been one of them!

Listen to a Top 40 hip-hop/Urban station, they still bleep sometimes. I think some people like the bleeps. Remember "Fight The Power" (Isleys, not PE)? We used to sing "BLEEP" in public to keep from getting harassed for saying "BULLSHIT". Doesn't matter to me, I could fill in the blanks/bleeps w/o even seeing the screen. I'm far more offended by the broken visual chronologies. Not everybody curses, but damn near every sadass motherfucker can tell time if they know how a clock works.

Reactive is insane, imo. Telling people to go out and come into the office until enough people are sick is wrong on so many levels. If you have the ability to stay home and decrease your risk of exposure to/spreading the virusand are told to not do so because enough people aren't sick yet to warrant it is about the height of idiocy, imo.

7, and one to grow on. Regarding hospital capacity overall, this seemed like a really, uh... bizarre analysis: A longer coronavirus outbreak is the best outcome for the health care system https://www.axios.com/coronavirus-hospital-beds-health-care-system-310452a7-b78b-4f47-87db-30592be63c34.html There are companies - national and local - that are telling their employees to get ready to work from home if enough people get sick to warrant not going out into the office. How insanely reactive is that?

I've got no problem with fusion, jazz-rock or otherwise. It's actually the "natural order" of things, imo. But Coryell has always seemed undisciplined/unfocused, almost ADD-ish in his playing to me...like the input got irreparably scrambled on the way to becoming output. It was less obvious in Burton's group (then again, Burton has struck me as being one of the more, uh..."disciplined" bandleaders of his time), but you could kinda hear the potential for that happening on The Dealer, and once he went solo....yikes.

I've always dug the idea of Larry Coryell a lot more than the actual Larry Coryell (musically, that is).

Ok, what I've heard to date is that most people who actually get the thing will have flu-like symptoms for a few days and then recover in a few more days. Most people, not all. Not to discount the very real need to contain the damn thing through logical, sound, scientific techniques, up to and especially including keeping one's self out of general circulation whenever sensibly possible, and also not to discount the very real ability of a virus to mutate on the fly (my biggest concern), but it's not yet a killer on the loose, is it? The key thing there being "not yet".

https://www.naxos.com/catalogue/item.asp?item_code=8.111362 Talk about obscure performances... The RCA Victor recording of Raffaello de Banfield’s 1955 opera Lord Byron’s Love Letter is a true rarity, remaining in their catalogue for only a short time and never reissued on CD before now. Based on a Tennessee Williams play set in late 19th-century New Orleans during the Mardi Gras, it revolves around an eccentric old lady, lost in the past, who displays to visitors an old love letter for money, purportedly by the rakish English poet. The opera was praised by Time magazine for its ‘vocal beauty’. It seems like a wonderful piece and performance to me, at least on first listen, but the real buried (almost literally) treasure is the inclusion, not as "bonus tracks" but as an "appendix"(!!!!) is Gertrude Ribla's performance of selections from Wozzeck, to the best of my knowledge only otherwise available on this ancient 10" LP. Producer’s Note The sources for the transfer of the de Banfield were first edition red “Shaded Dog” label American RCA pressings. Although taped a year after RCA began recording complete operas in stereo in Rome, this disc was only ever released in mono. A rarity, it did not remain long in the catalogue, and has never been reissued. There is a momentary pitch fluctuation at 3:09 in Track 2 which is present in the LP master tape. The “Academy Symphony Orchestra of Rome” is most likely a nom de disque for the orchestra of the Accademia di Santa Cecilia. Since Astrid Varnay is already well represented on compact disc, I have chosen to fill out this release with one of the few recordings made by her Lord Byron co-star, Gertrude Ribla, again heard in twentieth-century opera. The Wozzeck scenes were transferred from the early 10-inch LP (ML-2140) which was its only previous reissue and was itself transferred from Columbia’s wide-frequency range 33 1/3 rpm master lacquer discs. — Mark Obert-Thorn The stuff that's out there...

This cat can play.

The difference being that you'd hear the same set list from Lou Donaldson decade after decade, not just for a few years.