robertoart

How many of these European Jazz players, especially the ones of the 50s, 60's and 70's were academically classically trained (just like Herbie), and how many learnt their skills in community or on the bandstand? I think the European-ess of many European players from the earlier era comes from just that. An immersion and social-indoctrination in Classical music language and touch. From Bach to Satie to whatever. African-American musicians on the other hand, seemed to use the Army as a place to learn musical competency before being able to make a living on the road. And if Hancock (as he obviously was), is saying that all non-American based Jazz is simply Provincial, then I would agree with him. But it seems that time has passed - and now 'The Region' - is the whole world. No wonder the sense of urgency and need to reclaim Black American Music by the BAM movement. And the support it received from Black Musicians to ditch the Jazz word.

Bill Oddie Bloody Nora Nora Ephron

An interesting comparison is Larry Coryell and John McLaughlin. One a 'native son' another a 'British Blues Boom' progeny. Both in the shadow of Hendrix, both dealing with rock and modal jazz. McLaughlin never sounded like an American guitarist to me, while Coryell always does. I believe Coryell always had an earthier blues accent to his music. McLaughlin always seemed to me, to have a 'European sensibility' in his playing (even something like My Goals Beyond). McLaughlin's music became even more European accented as well, and Coryell ended up digging deeper into the Black music traditions. I am biased towards Jazz as an 'American thing'. So my favourite post Miles-McLaughlin was the Larry Young/Coltrane album he did with Elvin Jones and Joey Defrancesco. With Coryell, I tend to like everything, at least on some level.

Having heard that, I believe there must be a Billy Bang door out there. I will remain vigilant.

Maybe more aimed at the likes of Braxton and Vandermark? Not sure. It would be interesting if Braxton was in mind. But I just can't see anyone involved in free/improv music not seeing Braxton as an 'untouchable' of sorts, and a pioneer and fellow traveller for the Brotzmann generation. Although I'm not well versed in the aesthetic politics that would be behind these liner notes, I suspect Braxton has done it harder than any European musician.

Here's another little monster. He's found the pocket Judy Garland couldn't in that Count Basie clip

I saw Bonnie Raitt strolling through the streets of Melbourne late at night a few years ago with some of her band. Damn sexy woman she was too. And she was no spring chicken at the time either. But I guess the OP means strange sightings like the fact that Ornette Coleman supposedly guested on a French folk singers album. I can't find any more information though.

If I'm listening to vinyl, hopefully nothing, as my turntable doesn't have an automatic return function. If I'm listening to cd, I use the repeat function and hope to turn a short nap into a good nights sleep. Wes Montgomery's Goin Out Of My Head (absolutely gorgeous, lush recording) or California Dreaming are favourites.

Yep, this is the one I use, too. I've got a generic brand one as well, but didn't know about the excellent advice re- brushing on a grounded appliance to de-static the vinyl

The Brotzmann liner notes are a bit disengenuous in a way. Sure his European Fire Music approach is raw and direct, but it's also aurally alienating and difficult for anyone without an already attuned ear. The original negating integrity of the music can also be used for the same intents and purposes of Dianna Krall music - to inverse effect re-jsangrey's point "use it for ambient sound in the service of projection a sense of superior sophistication". Just depends on what dinner parties you get invited too. Although to be fair to the Brotzmann writer, I suppose they're talking about a kind of Third Streamy artfulness and detachment - that they would see as having corrupted their original aesthetic . But it's asking a lot for the post Brotzmann generation of academically trained musicians to 'maintain the rage'. With regard to the Krall 'not all that' criticism, I guess she joins a long line of tradition in the marketing choices made by the pop/crossover brigade. Obviously Herbie Mann dominates this deluded bunch.

Rev. Julius Cheeks George Braith Rula Lenska

Oh.

"Most of the time, I'm able to relax and separate from myself. With this CD that was not possible. The music can only be described as annoying and counter productive to the relaxation process. I was not able to relax and let go and it was because of the music I was listening that was playing." That was a crap film.

Is Triumph Jewish? He is obviously Milton Berle

I'd be careful SS1, if you're going for "gay". You won't endear yourself to your left-wing friends and I'm fairly sure it would constitute a personal attack, if you're using it in a deragatory manner. "Deragatory" is a big word, you may need to look it up. So you don't like Shakespeare?

They all like Shakespeare?

I remember seeing Lawrence Hilton-Jacobs in Roots. Although it was around the same time as Welcome Back Kotter. Travolta wasn't in that one Apparently Robert Reed was but I don't remember him.

Don Wilkerson Son House Michael Landon Jr.

Start a telethon.

Ah, yes! That one looks classy.

I didn't mean to be facetious. It just read funny thats all. She looks good to me too. It's her decision in the end. I know - I realised after I typed it... I'm not an aficionado or anything :eye: Me too. I had to look up what you meant.

Hey I've got that. That was a great band. There was an Ornette one from that series too. They'd be hard to find now alright.