robertoart

in a creepy sought of way...

Doing nothing means a lot me.

Do you think you could find time to throw a few 'polemicals' up here while you are waiting for the band to turn up? It seems to be all album covers and public school grammar at the moment. Preview of the 'Uncle Tom' liner notes perhaps

Yes. I would say the information in this post is what interests contemporary players these days. Not 'inside/outside' so much.

Is there a difference anymore? You haven't been paying attention. Listen to Cleaver on Farmers by Nature or any Lotte Anker cd VS. his appearances on any of the last few Jeremy Pelt cd's. No. What I am saying is the old dichotomy between inside and outside playing is not so much a matter of capacity for contemporary players anymore, but a matter of choice. It is a much more fluid thing for musicians (who from a drummers perspective) have absorbed people like Jack Dejohnette as second nature. The revolutions and discoveries of form (at least) were traversed ages ago.

Is there a difference anymore?

I suspect Baraka's complaint was a teleological one rather than a qualitative one. gee it's been getting boring in here of late

I hate it when they mispronounce 'go home and die you *******' as ' go home and die you *******' . Never happened when I was in my twenties

for liner notes I prefer my hyperbole ragged right I 'just' looked up ragged. Very clever and quick

Exactly the same as Australia. I remember the achilles heel of the wrestler George 'the animal' Steele was his 'collie flower ear'. In Melbourne, Melbournian's pronounce the name of our city 'Mal-bun', but Yanks always pronounce it 'Mal-booorrrnnn'. In the Queen's English, it is probably 'Mal-burrnnn'. Our Prime Minister recently made an embarrassing faux pas when she pronounced the word hyperbole as hi-per-bowl Obviously she had only ever read the word, and never heard it used in conversation. It was quickly forgotten about, more than likely because most of her constituency of 'ordinary oarstralians', had neither read, nor heard the word in question. I, of course, had already encountered the word via the Michael Cuscuna penned booklet accompanying 'The Complete Blue Note Recordings of Grant Green and Sonny Clarke', where Cuscuna calls the Leonard Feather liner notes for Grant Green's 'Greenstreet' session as, 'entirely justified hyperbole'.

You will soon. Manfred recently bought every African record label known to human kind and is currently remixing it all in the ECM way. The fiend! Well, at least the quality of the vinyl will be better. What you lose on the schving you gain on the roundabouts. BTW, thanks for the continuing grammatical 'head's' up.

Not for me. I had a very poor education and am always looking to catch up. Any insights, even at this late stage of life, are most certainly welcome.

Oh sure this is true. Time will inevitably change the way future custodians of the cultural record will view things anyway. The jazz legacy is unfortunately at the mercy of corporations now, which is different to the way other cultural treasures like Visual Art are kept. Art for the most part is held within civic collections. And is actually accessible to anyone that is willing to take the necessary steps to gain access to it, even if the institution has it on public display or not. So I would suggest the cultural record in terms of Jazz heritage is far from being at a level of optimum preservation, despite the efforts of devotees to be essentially 'trojan horses' in a transparently mercantile industry.

I am finding the idea of a thimble collection strangely comforting. Where would one begin? It's real! Who would have known of such a thing! My link Back to your scheduled programming.

Are they still in business? I meant to get this one but somehow never did.

The big difference is not in being able to read standard notation as it is in being musically literate. With regard to Montgomery, I grew up reading his 'musical illiteracy' debated as if he was some kind of happy go lucky idiot savant - who just miraculously found his chord shapes and re-harmonised progressions to magically (and naturally)fall under his fingers. It seems to me that the knowledgeable players in jazz history learnt their approaches not so much through the ability to read music, but through oral communication and sharing of 'systems' between musicians. Which probably worked through opening up cognitive pathways in the mind as much as it did on learning them off the musical page.

From what I have heard, only Grant Green is truly "on" for these sessions. The rest of the band has some trouble. Good, but not great and I can see why Blue Note didn't issue it. So what status and purpose do these original tapes serve now if they will never see the light of day. If Lion and Quebec deemed them rejected at the time, why were the session tapes not destroyed instead of being archived for all these years? To give us something to complain about. Actually, I'd rather them be stored than destroyed like the tapes from Horace Silver's "Live At Pep's" recording session. Of course I'd rather them be stored as well. But to play the devils advocate - is it not equally disrespectful to the wishes of Lion/Quebec to have a rejected session 'circulating' among aficionados, as much as it is to have it out in the 'open' market. I suppose the counter argument is that 'aficionados' will be more knowledgeable about the context and merits of Quebec's artistry from an overall perspective. Whereas a 'novice' listener stumbling upon the recording might consider such a sub-par session as 'definitive' of Quebec's legacy. However, where does respecting the wishes of the artist and producer begin and end - with not having it officially released, or not having it heard at all.