robertoart

Well it is an important story insofar as so many issues surrounding jazz history and social conditions seem to arise around her presence. It seems Amiri Baraka has strong words to say about this. So it's definitely a story that has many angles. My link

Get well Tommy. My link A true deviant until the end

Has this website been linked to before. Looks like a treasure trove of interview archives. My link

Perhaps if you are interacting with another culture, what you learn language wise (in terms of sub-culture meanings) is at the mercy of your 'hosts'. Whether 'it's all a game' probably depends on the balance between your 'motives' and how they are perceived by others. I guess this has a lot to do with what you are doing there, be it professional, social etc. I don't think anybody really likes 'phils', where the element of social/cultural voyeurism might put people off sharing as much.

Find a reasonable and intelligent way to expand the language, then. Expansion for its own sake is not growth. English has NOT, by the way, been changing as quickly as everyone here seems to think. Agree. In music terms this would equate to what 'Fusion' eventually became.

Is/was the hagiographic recognition of the 'Baroness" a universal thing in the 'Jazz' world of the time? There seems to be a lot of issues that her money and presence seem to raise. Does Robin Kelley expand on this at all in his Monk book perhaps?

I cringe every time I hear the 'plebeian' line in Cry Me A River. Completely destroys the point of the song. It's a 'too cool for school' line that takes the song out of truly classic status and puts it in the 'hipster dufus' bin of beat poet-esque malarkey. I prefer the 'lightheadedness' of Blossom Dearie songs for that side of Jazz.

It's essential. Pairs up very nicely with Grant's session with Rusty Bryant 'Rusty Returns'. Was also just listening to Houston Person's 'The Real Thing' yesterday. The tunes with Jack McDuff on organ from that live session are also noteworthy. Angel Eyes, Since I Fell For You and Lester Leaps In. Wonder if there are any more standard like performances from this 1973 gig still unreleased?

another web page celebration cut and pasted from here My link

cut and pasted from here My link Ronnie Scott - these are the jokes...

you might be better off with one of those parrots Ronnie Scott used to talk about. Apparently Mr Scott went into a pet shop to buy a parrot and saw three different parrots for sale. He enquired with the shopkeeper as to how much money to buy the first parrot - a quite beautiful looking bird with lovely plumage. The shopkeeper replied it was 500 pounds. Mr Scott was taken aback and exclaimed, 'WHAT'.....that's too much for a bleedin parrot.....what's so special about this bird'? Well sir.....the shopkeeper said.....this isn't just any parrot.....this parrot whistles the entire Charlie Parker's omnibook forwards and backwards'. 'Wow', Mr Scott said, 'that's impressive.....but I haven't got that kind of money.....I'm a jazz musician myself'. Mr Scott then looked at the next parrot. This one was not nearly so pretty, and didn't look healthy at all. "Well how much for this one then" he said. The shopkeeper replied it was a 1000 pounds. "What" he exclaimed, "a thousand pounds.....are you out of your mind..... What does this one do?" 'Well Mr Scott' ...... "this parrot whistles all of John Coltranes collected works.....both forwards and backwards". "Oh" ....Mr Scott replied...... "That's incredible". Mr Scott proceeded to look at the last parrot. This parrot looked the worst of the lot, ruffled feathers, severe weight loss, barely enough strength to prop itself up on it's perch. "Well how much is this one then" Mr Scott sheepishly enquired. "Oh this one" the shopkeeper replied....."You can't afford it" "Can't afford it" Mr Scott exclaimed. "What the effin hell does this parrot do"? "Well"..... the shopkeeper replied....."I haven't worked that out yet..... but the other two call him maestro".

Weren't the instrumental Hammond combo's an integral part of the chitlin circuit as well? Little Richard was/is a wonder. I love his interview on the strange Hendrix bio/movie that came out not long after Jimi died. "I knew he was gonna be a star" "I knew he was gonna be a star" Little Richard is remembered in Australia for touring here as part of some promoter's (Lee Gordon I think) Rock n Roll package tours of the late 50's early 60's?. On one of these tours Richard apparently saw the Sputnik or something and freaked out - having a God fearing moment. He is said to have taken all his stage gear and paraphernalia and thrown them all in the Yarra (our local river). He is said to have returned to America and denounced Rock n Roll for the church. I believe he often did this during his life. Being conflicted between the Church and Rock n Roll. Australian entertainment/early rock n roll people used to love telling this story. I wonder how true it is and how the man himself would recollect such events.

From some of the stories I've read on here re-Jazz musicians - it obviously cuts both ways. Some of those Baby Face Willette stories sound pretty brutal. John Patton's first wife sounds pretty brutal as well. Then again anyone that seems to recall the Hound Dog Taylor band can rarely separate the music from the in-house violence. I've also come to understand that it was the ambition of many R&B and Blues players to move closer to Jazz.

Right in front of ure-eye was it The dress rehearsal.

Correction: I heard from Red Ingle’s son, who informed me that Tedder (correct spelling) was a real person. Tell Mike Fitzgerald. MG No, it's cut and pasted from the bottom of your link.

I don't care what it's been, what is it now? (That joke was first broadcast in the BBC Home Service on the fourth of March nineteen thirty-five.) MG Happy Diamond Jubilee.

I see. Well, I'll have to bookmark that link. And take heed of the warning from Karen below. False economy indeed. On November 04, 2005 at 10:04 PM, an anonymous reader said... I must take exception to your statement that any other brand of cream of mushroom soup would do. I want to warn against the store brands! I am frugal (okay, okay--cheap!) and have tried the store brands and they are SO not worth the few pennies saved. In fact, they taste so bad, they'll ruin what you put them in! Now, maybe brands that are MORE expensive than Campbell's would work (haven't tried any of those!), but do yourself a favor and do not use store brands. Karen

OMG what is...it.

Correction: I heard from Red Ingle’s son, who informed me that Tedder (correct spelling) was a real person.

How about using cans of cream of mushroom soup for target practice? It still seems like a waste of good soup to me. And food in cans never goes out of date. Still, if the target practice is absolutely necessary and there are no hungry people in the vicinity I suppose it is fairly harmless. What would it be called...Tarcreaming.

Yep, more than likely. This Don Patterson album, features my favourite guitarist 'Blue Grant', What nom de plume did Mr. Jackie use anyway. Was it funny?

Along with Bedazzled and The Producers, my favourite movie. You guys should celebrate creative uses for canned mushrooms and change your gun laws.

What about Little Richard? Fact is Berry was a product of the chitlin circuit (who wasn't). Performance quality not withstanding. Mediocre by temperament and proclivity perhaps. Not by capacity. I would also back in Chuck to get down with the best of them. Back in the day. He played a mean guitar.

No transcendence is not redemption. And transcendence is not born out of guilt. Connelly chooses to quote Chandler's very proscriptive statement that redemption is an identifiable characteristic of art. This is then applied to Be-bop and Morgan by context. Be-bop as a Black cultural and social art is transcendent on almost every level. Black people in America had to find ways to transcend American life. Emotionally, socially and intellectually. They had nothing (as a community and a culture) to redeem themselves for. Or would you argue that Be-bop was not exclusively 'culturally owned' by the Black American world and therefore Morgan's life and music should be seen more exclusively through a personal journey of pure addiction/crime and then redemption through musical talent. I don't think this is an entirely appropriate or respectful position. Hence my complaint about a Black Jazz musician being framed through a 'redemptive' lens. It distorts the retrospective perception. It may be appropriate for Chet Baker and Art Pepper (who also had a similar 'redemptive' quality to his story), but not so much for a Black subject of that era.

“I’m a disciple of Raymond Chandler, who said in his essays that there’s a quality of redemption in anything that can be called art,” Mr. Connelly said last week. Can't say that I totally agree with this redemption stuff. Redemption is far from a given characteristic of any form of art. Although it is especially beloved of those that need to project a melancholic narrative trope in order to 'identify' with the art. Redemption is too associated with guilt, and suggests that 'art' is the product of some kind of 'immanent failure' - that can be transcended by the 'beauty' of the art. In regard to Jazz at least, it strikes me as very much a White way of looking at things, and a typical Existentialist one, overlooking the collective pain of social and economic hardship - and how a music helped transcend and alleviate that - by instead placing the spotlight back on a Romantic interpretation of an individuals particular situation. Once again, no morally wrong act took place on the part of the 'Jazz' culture - therefore no redemption was possible (or needed). I mean whose achieving the redemption anyway. Morgan - for living through a vile 'social reality' - and succumbing to the endemic 'social disease' of drugs to escape that - and crime to survive. Or Mr Connelly, for recognising humanity (and a sympathetic mise en scene) in Morgan's music - and being diverted from the shite popular culture around him.