robertoart

I've got all the released stuff by Circle, including the Japanese albums - and a little bit of other nice stuff as well. The two Japanese albums are very good - one is a concert recording of pieces that were also included in the ECM Paris Concert album (from a different concert, of course), and the other is a studio recording of a long improvised piece. I pretty much love everything by Chick up to the time Circle disbanded. Although I like some of his music after that (and I like some of it a lot), I don't entirely "trust" him after that, if that makes any sense. What I mean is - with most musicians, I have a sense of who they are, musically, and can gauge their level of "commitment" to their vision of what music should be. With Corea, I've got no idea who he really is, and what he thinks music should be. Of course, that might just be my hangup. Mr. Corea, or anybody else, certainly doesn't have to conform to my ideas. Not a hang up. the overarching vision and integrity of a musician as lauded and as ubiquitous as Corea is crucial in any critical discussion beyond an - 'I like this one - I don't like that one' kind of thing. There is 'eclecticism', or even 'having many strings to your bow', then there is 'Corea'

P K Dick Dick Heckstall Smith Thin Lizzy

Are those titles actually from Ornette himself. I can't imagine him titling a composition or improv 'Summer - Thang'?

Yes, I have that one, and you think "Sonny Rollins WOW" and it is, on one cut, but he's playing saxophone pads - , just making the saond of closing and opening pads. So, yeah, parallel universe BIG time. I dig George Braith. People should also hear the one he made with The Braith Family singers. It's the very eptiome of you either get it or you don't, and either way, that's a good reason. In 1,111 posts, you'll have 44,444 posts jsngry. I've got the live GB with John Patton called Eagle Eye. Would love to hear the George Braith recording from Musart with Grant Green and Billy Gardener. Wonder what tunes they played?

Canadian Bacon John Candy Peter Finch

Shakespeare Harold Bloom George Segal

Just like to consume the music on your own terms eh. Well who could begrudge you that? Personally I like music with lots of Fourths! The Black Power interval.

http://www.youtube.com/watch?v=kqjpxEYWZk0

Accepted, yes, finally, but only after a generation or two later realized that maybe OOPS we threw the very wonderful baby out with the rancid-pissy bathwater, and where did we put that bathtub anyway, now that we could use the water? As far as jazz turning into not-jazz, well, yeah, and two things - 1. I'd like to think of "jazz" a ultimately being more about a mindset than a system (if that's truly possible, and it's a belief I'm willing to invest in that it is, although no way can I ever really know it), and 2, thus the whole Nicholas Payton BAM thing, because even though as a literal racial thing, hey, maybe not, but as a concept that allows for an expansion of collective awareness and possibilities instead of a compartmentalized/curated breakdown of them, not a particularly wrongly played notion, only that 3 (Bonus Thing!), we done been there SEVERAL generations ago, and as a forward thinking movement, not a backwards looking do-over of the last backwards looking do-over that declared that it was all A Thing Gone Wrong, All Off It, The Fusion And The Free Both. Although, I'm all down with not Running In Horror from somebody wanting to bring Dilla/Etc into the mix because it's What I Know At Least As Much As Anything Else Going In But I'd Like To Not Just STOP There. OK?, so if the BAM thing can do that, then good, although yet again, M-Base, please, and talk about abortional fratricide, well, there. And yet, Steve Coleman Lives, if in France and not New York. In what way did/do you perceive BAM as a 'literal racial thing'. Are you talking about the claim for jazz to be known and privileged as a 'Black Music language that White people can and do play', as racial, in the sense of being 'racist'? It seems to me, the idea was driven just as much by the fact that Payton was concerned Jazz was losing it's identity as a Black music, possibly by the fact Black music and musicians were being swamped by the numbers of White musicians with reverence for the musicians of the past and keen to 'accept' the music as Black in historical terms, but not so keen to 'celebrate' this fact in contemporary terms. Kinda like the way Native Americans must have felt when they began to have to come to terms with the loss of 'their' land - and how to survive into the future. Intellectual property can be Colonised just as easily as land. Of course, there is also the Payton argument about the stagnation of the music itself, and his desire to claim the commonality across all Black American Music, which also comes across as a strategy to take the music back, kind of like a call for the joining of the Tribes to mount one last great effort. Perhaps you see this as the 'literal racial thing'. Also interesting, at the time, to see an overwhelming support in Social Media for Payton from African American woman, as opposed to the vitriol and 'under threat' like hostility refracted by (mostly) White males.

Joe Morris did a 4 CD set with Braxton That's what I was possibly remembering. I knew he'd have done something (at least) that fitted the bill

Maybe if I drink more I'll start exercising.

I am seven years younger than you Big Beat Steve. I started listening to the Classic hard rock bands about a decade after their heyday thanks to a friends Aunties record collection. But my very first musical memories revolve around a record player something like this, I don't really have any memories before a time I ever had this little record player, so I think Mum and Dad must have had this in my room with me since before I could remember. My own Aunty gave me her old 45's, mainly early 70's Neil Diamond singles and some Beatles, Carol King etc. She also gave me 45's of these, which I still have. And I played them all to death. My mum was a singer in her youth (in the 40's and early 50's, so music was always an important part of life. One of mums cherished memories is of being chosen to be in the chorus for a visiting Italian Opera Company in the late 40's. When I started learning to play Jazz I hoped mum would know some of the Standards, but alas no. It was all 'Bluebird Of Happiness' kind of stuff. She did have this in her collection though, but also unfortunately these, which I can vividly recall, Very first memories also include The Beatles cartoons on Tv, and simultaneously, what must have been B&W promo clips cut from the film Let It Be. I couldn't reconcile the Cartoon Beatles, and the 'real life' Beatles with beards and long hair. So music was always the most important thing in my life since I can remember, and I devoured everything I could on TV and through my little transistor radio. I also fondly remember telecasts in B&W of our own Woodstock - called Sunbury. And the outrage my dear uneducated parents felt when they saw this man (Jeff Duff from Kush) do his Jazz meets David Bowie performance. I can still hear them express their indignation at him 'performing on stage in his underwear. they knew how much I loved music though, so they put up with it.

Good to know.

My first car was a Ford Cortina mid 80's model. Fried the motor.

I spoke to a friend today who mentioned lot's of Metal musicians like Di Meola, and cite him as an influence. I haven't listened to him much at all, ever really, I did assume though, that because he had played with Corea - and was associated with Fusion - that he must also be a well versed (if not totally natural), straight ahead player. Interesting to hear a consensus that he's not. I know what you mean about Gambale, I don't enjoy his playing much at all, but he's a monster of technical knowledge and skill.

I really don't want to see that Glen Campbell clip. The Rhinestone Cowboy and the Broadway Shuffler. Please let it be that it was on a MS that's been lost to posterity. I 'do' however, have 'a memory' of seeing Roy Clark on an episode of Carson (I think), where he plays his stuff and then sheepishly apologises for being 'a little rusty' - because he's just been on holidays. He had one of his funny suits on if I remember correctly I really like the famous 'Rene's Theme' duet, between Coryell and McLaughlin. Apparently there was some 'editing' involved in the recording, but it's a classic.

Didn't Di Meola play with Return To Forever?

How about - 'at will'. McLaughlin can play changes alright. No fudging there. The Organ trio recording with Elvin Jones is one of my favourite recordings by anyone - ever. And I don't really dig Defrancesco much 'at all'. But he made some great recordings with Guitar masters...Pat Martino and Larry Coryell. Can't Dimeola play straight ahead? He probably could if he wanted too?

His contributions to Jazz-Rock are unsurpassed. But the music concerned with 'the back to the tradition' movement, he was too young too have contributed too from Europe or no. To be fair to McLaughlin, he did/does switch between acoustic and electric projects at random and throughout his musical journey. Still, however, he hadn't gone near 'standards' or traditional repertoire since 'very early' 1970's, so the suit and 'changes' schtick does beg the question. Was this around the time of his involvement with 'Round Midnight' The Movie?

http://www.youtube.com/watch?v=pmn5J8W8XnQ