JSngry

The Meyerson stage comes up to about my shoulder level, so, about 5 feet elevation. And the backside of podium (which itself is (re)movable) usually comes almost to the edge of the stage, if not actually to it. They sometimes have a rail up, actually. Not that I've ever seen anybody come close to falling off it backwards, but there it is, just in case, I guess. Here it is w/o rail. You can see how intimate it can be:

++

Our season tickets for DSO are third row center, and yeah, front row can easily put a hand on stage, maybe hop up on it if a person is young and limber and clueless enough (not good odds of that at a symphony concert too often). During an intermission, the stagehands got careless and let a stand fall of the edge of the stage. It landed on a couple of (vacated) font row seats. I was able to pop over and hand it back to them, and I asked them if this was like a foul ball at Rangers game, can I keep it for a souvenir. They laughed, but that was a stage crew at intermission. Another time, a conductor let his baton slip out of his hand and it actually landed in a patron's lap! The patron discreetly set it back on the podium, after which the conductor reached down picked it up and smiled at the patron, all without missing a beat. Theatrical! Dallas Chamber Music Society, SMU's Caruth Auditorium, seating ends ON the stage, only recently did they start closing of the front row. There was (and still is, reall) and amaizing closeness to the performers if you get there early enough to get down there. All this to say, yes, I have no problem imagining that this patron was getting up close and personal. Yeah, look at this:

A modest proposal - In the society we are beginning to live in today, soloists need to start practicing open carry when they come on stage. That's supposed to be a deterrent to anti-social behavior, right? I mean, hey, Mutter pops off a round, that'll put a stop to any further such nonsense.

This guy at this time has a confidence bordering on cockiness, in a good way. Like prime Eckstine, he puts it where he wants it how he wants it, and there's not even a shred of uncertainty about where and how that's going to be.

I'd like for somebody to objectively interview that audience member and just let her(?) talk about why she thought any of this was a good idea, why she thought that starting a conversation with an artist onstage was going to be constructive, what kinds of events she was used to attending, all of that. Let her start talking and don't challenge anything, let her speak freely and openly. It could be most illuminating.

HM on FM

14 is not a prime number either, but is it Roy Wood-related? Don't know that it wasn't on a shirt, but there was plenty of hair there, I do believe!

+ LP 1 (of 3).

Carpe diem, bro.

No Monty Alexander, Herbie Hancock or Azar Lawrence collection complete without it!

Also, the J.R. Monterose is very special. It's since been made available on other labels, but still, one to know.

That list is missing at least one gem:

Hey - is there anywhere in the world where big nasty redheads aren't popular?

That's also how I remember it, but it was a small town, and even an AME congregation there probably would have been a lot more "regional" than a more "urban" area. Churches back then (and a few today) were a lot more about the immediate community's culture than about any broader denominational considerations. An AME church in High Point, NC and one in, say, New York, may or may not have followed the exact same worship practices (my money would be on not). Lines got drawn, of course, speaking in tongues is normally the domain of Pentecostals, but past that... Just saying, I would be surprised if Coltrane at that time and in that place wasn't impacted by the overall church environment of his community. Past/in addition to the speaking in tonugues, there the whol "hooping" thing too, which is apparently becoming a bit of a lost art...find a copy of this somewhere, it's amazingly intense in pretty much every way: That guy...worthy of attention, to put it mildly...

My Name Is...

Wow...another one. RIP.

That's what they say.

One more link in the chain lost... RIP.

I find almost any form of non-secular "religious" music of any continent incredible, as best as I can get to the root impulses of them. But Pentecostal/Sanctified/etc. music in particular....yes. Growing up as I have where/when I have, even during Segregation, that vibe was something that was always there. And once integration began and people came to school on Monday who had been to church on Sunday...there was a different energy there (and also with White people as well, "Pentecostal" is not just a Black Thing in terms of religious direction). People who just get open and let "it" get all up inside themselves...it's a different energy, for sure. One of the biggest losses (ok, changes) to our local culture was when 730 KKDA-AM was sold and switched over to a K-Pop format (from Soul 73 to Seoul 73!!!). The old station was really one of the last places that broadcast live Church services on Sunday AM. Not big churches and hi-tech broadcast, but itty-bitty 15 minute live blocks that sounded like they were being phoned in or something, really REALLY tiny congregations with some pretty non-mainstream addresses DEEP in the community. The station also would devote Sunday afternoons to Gospel records old and new, and had on-air prayer sessions with listeners and various ministers. It's whole other big, big BIG world there, and that's just me as an outside observer. I think we miscast so much of this music if we evaluate it without some kind awareness of that world. Branford's statement rings true in sentiment, although rather than "data" and "sound". I think of it was "phonetics" and "meaning". Either way, though - information and communication through a language of music

I like that one too. A lot less "sensual" than Hannigan's, maybe more "correct", I don't know enough about thatto say. But if my Discogs order goes through, I'll have both and enjoy each on their own merits. Maybe even someday have enough awareness to have an informed opinion. But I kinda hope not...just hearing something that is not as obviously off as that Esoteric LP (sorry, Jerry Newman) might be good enough for me for the duration. Learning French well enough to fully appreciate the words as well as the music...let's see how long I live and how much free time I have while so doing. Obne hopes...not jsut for French, but for Spanish as well.

omg, this is beautiful...hard to believe that it's the same composition heard on this:

Non-objection sustained. However, since the discussion might pivot from a discussion of matters stemming from the title of this release into one entirely concerned with those matters, apart from this release, the advisement here is that such discussions would most appropriately be held/continued by interested parties via PM or non-forum means. In other words, as it pertains to the board and these issues, take it private. The intent is not to stifle discussion, but to observer the board's rules against "political discussion". It's a fine line, of course, between a music-generated look at ongoing public issues and a solely issue-generated discourse, and it's a fine line not without overlap. But a line it is, and the line will be drawn here. Signed, Morris Ankrum

https://www.oxfordamerican.org/magazine/item/1612-john-coltranes-spiritual-high-point via today's Mosaic Gazette