robertoart

Anyone familiar with this film about the Boston jazz club 1369. A link to this clip was posted on the Hoffman Forums. It seems the film is unavailable.

Well Praise Jesus, Allen! Everybody's happy!! Cause for celebration, I'd say! well the id talkers always shake it up until the ego steps in to pull em back into line.

Who's the model on the Tough cover

That's committment

Nobody on CTI was occupying a progressive or conceptual space in the public's mind. Hancock however, was always considered a 'progressive' musician, especially by those with more of a foot in the rock camp, even up to his involvement with Laswell. Is this what your beef is? That he was essentially a conservative musician, who should not be afforded any more privileged status than the more blatantly commercial CTI side of Fusion. The 'title' Speak Like A Child, reflects the 'Picasso syndrome', that plagued art and music still caught up in Modernist concepts. Ornette was also responsible for this. The music was ahead of the words and concepts, and this reflects the sometimes embarrassing titles and texts used by some musicians (and labels) to represent and frame the music - when it wasn't being marketed to only a Soul Jazz audience. Hancock was not alone in this, and probably didn't spend as much time thinking through the conceptualisation of his words. Not as much as Joyce anyway First of all, let's wish Herbie a happy 72nd birthday. (Born April 12, 1940) Now, Allen: In the immortal words of Jeff Spicoli, "Hey, dude, what's your problem?!" Are you saying you've never listened to the record because you don't like the title or are you saying you heard it once but thought the title was so dumb you swore off it forevermore? Either way I'm having a hard time processing. Not liking the music is certainly legitimate, but using the title as a sign of intellectual failure when the music itself is remarkably sophisticated on every level seems like throwing out the baby with the bath water and all that. But, ok, we all live in the world we choose to live in. But for me, I want "Speak Like a Child" as part of my soundtrack options (not to mention the rest of the Blue Notes.) Headhunters, too, for that matter, especially the absolutely killin' live double album from Japan called "Flood." Also, all the Mwandishi band music and much of the later work too -- but certainly not all and I would of course admit he's produced a lot of schlock along the way and that, on the whole, the records in recent decades have not been as satisfying as the live performances that I've heard. But there are exceptions -- I thought the live record with Brecker and Hargrove, etc. was a great jazz recording and I thought the Joni Mitchell record was a great pop record. But back to the title , which I rather like or at least don't see as any more problematic than, say, "Let My Children Hear Music," "A Child is Born," or "Inka Dinka Doo." Herbie is quoted in the liner notes (by Nat Hentoff) that the title came from Frank Wolff: "It's a result of a picture that a friend of mine, David Blythewood, took. I dug it so much I brought it to Frank for use as the cover for this album. Frank said it was so evocative a photography becasue of the innocence and naivete in it. And so I started thinking about the quality of innocence when I was writing this song. Clearly the music doesn't sound too much like what's going on today -- war, riots, the stock market getting busted up. And the reason it doesn't I realized is that I'm optimistic. I believe in hope and peace and love. It's not that I'm blind to what's going on, but I feel this music is a foward look into what could be a bright future. The philosophy represented in this number, and to a large extent in the album as a while, is child-like. But not childish. By that I mean there are certain elements of childhood we lose and wish we could have back -- purity, spontaneity. When they do return to us, we're at our best. So what I'm telling the world is: Speak like a child. Thank and feel in terms of hope and the possibilitiesl of making ourselves less impure." Ok, you might find this all a little too precious and embarassing (I don't), but even if you do, I would suggest, contrary to Freelancer above, that Herbie certainly has thought through pretty deeply the conceptualism behind the words. Ok yes. Point taken in regard to this title. It's still pretty corny though And he didn't follow through on the concept with...er...the same sense of commitment as Ornette

I can access that journal but with a one year delay... Please report back in 1 year

No, dumb is Elton's "Captain Fantastic & the Brown Dirt Cowboy" From the mouth of babes

Here is what looks like a fascinating article on A Jackson In Your House. Unfortunately I am not affiliated, so can't get past the moneywall. My link

A trampled foreigner.

Nobody on CTI was occupying a progressive or conceptual space in the public's mind. Hancock however, was always considered a 'progressive' musician, especially by those with more of a foot in the rock camp, even up to his involvement with Laswell. Is this what your beef is? That he was essentially a conservative musician, who should not be afforded any more privileged status than the more blatantly commercial CTI side of Fusion. The 'title' Speak Like A Child, reflects the 'Picasso syndrome', that plagued art and music still caught up in Modernist concepts. Ornette was also responsible for this. The music was ahead of the words and concepts, and this reflects the sometimes embarrassing titles and texts used by some musicians (and labels) to represent and frame the music - when it wasn't being marketed to only a Soul Jazz audience. Hancock was not alone in this, and probably didn't spend as much time thinking through the conceptualisation of his words. Not as much as Joyce anyway

Is there any particular one, you care to 'advance'?

Here are some suggestions taken from a thread on Jazz Corner - a bit of jazz board intertextuality I've always heard that it's a phonetic mis-transformation of the french "Après Vous" (like "After you" I guess), that you say when holding a door for someone, from a time CP was playing France. From same thread re-"Klactoveesedstene"; I read (in the Penguin Guide, maybe?) that it was thought that "Klactoveesedstene" was a corruption of "Klact, auf wiedersehen", and meant something like "goodbye to noise".

From: Francis Davis, (1986). In the moment: jazz in the 1980s. New York, Oxford University Press, page 47 http://wallofsound.wordpress.com/2007/06/19/misunderstanding-%E2%80%98flowers-for-albert%E2%80%99/ Oh, just transcribing. I thought I read somewhere else, David Murray talking about actually making arrangements, based on those choruses. Maybe he never got around to it. Obviously a solo close to his heart. Perhaps the Stanley Crouch influence from his early days. Well, my memory serves OK. My link

Almost certainly they were worked out beforehand. Maybe pre-composed solos would be a good topic for a thread. Don't know if this has been discussed here before. In the classical music threads But seriously, I can't think of many actual instances within the jazz tradition. Third stream music perhaps? I have read where composers have made arrangements based on famous solos. In other words. where previously improvised solos were re-contextualised. I remember reading about David Murray doing this kind of thing with the famous Paul Gonsalves solo from Newport, but never heard the results, so not sure whether this was an approximation of Gonsalves original solo or not. On the other hand, many of my favourite soloists are often accused of playing the same lines over and over again, so kind of another take on the idea of pre-composed soloing Minimalist paintings are really BIG

I suppose this secret chord will only work for piano players. With your ten finger options

I must say, that's most unusual

Miscellaneous - Non-Political, but I see I should have started it in Miscellaneous - music instead like this one.

It's always been one of my favourites...seriously

Thank you for accepting my apology. But I know men have been shot for less in those parts However I must warn you that I have been known to walk the earth there...you know like Kwai Chang Caine The other thread is a very interesting one too, re-asking for help or posting solutions to mysterious song/album titles. I started it off with some Ronald Shannon Jackson titles.

Here is another title I long wondered about, High Yellow-James Blood Ulmer. Apparently it refers to a light skinned African American woman. Always loved this tune BTW! Other titles in the mystery basket include; Solid-Sonny Rollins, I am guessing this is a term denoting a staunch or redoubtable community member or friend perhaps? Mama Too Tight-Archie Shepp ? Also Archie Shepp, what's a 'pitchin can'?

Great cover painting. Is it more whimsical if you've been to Nebraska? I saw your earlier post about this. He must be a power to hear live. I heard four different editions of the Decoding Society live in Fort Worth back in the 1980s--all fantastic concerts. Here is an interesting summation of the early LP's from the Destination Out blogsite. Also thought it interesting re-the Glasper discussions etc. Not only a stellar drummer, and the funkiest man named Ronald, Jackson is also a crack bandleader and superb composer. His harmolodic funk band The Decoding Society cranked out some of the smartest, fiercest, and just plain finest slabs of fusion during the 1980s. Barbeque Dog is the last in an impeccable run of releases highlighted by Eye on You (1980) and Man Dance (1982). Because it was the 80s, some of the production choices and guitar treatments occasionally sound a bit dated. But overall, Jackson’s work holds up as well as â?? if not better than – any other jazz musician using electric instruments during roughly the same period. (Don’t believe us? Try spinning Steve Coleman’s Black Science again). For one thing, he didn’t buy into (too) many of trendy synth textures of the day. And for another, his compositions were so good that they can survive any missteps of history. These tunes are elegantly constructed, morphing through various sections while still leaving room for go-for-broke playing. Dig the contrast of the shifting horn charts and Vernon Reid’s dive-bomb guitar on “Trials of an Honest John.” And note how the song effortlessly slides into a keening free jazz/Middle Eastern mash-up at the 1:30 mark. What’s most impressive is how organic Jackson makes his multi-headed fusion sound. Revisiting some of these lp's recently (after a long time), I thought I would find Vernon Reid's contributions the weak link in this band. But I was really 'really' surprised how good he was at such a young age.

That sounds about right. Best explanation I have heard yet. Thanks Neal!!! I burnt a man alive for playing Sylvester's You Make Me Feel Mighty Real on our local jukebox. Really? well I shot a man in Reno, just for pissing on my thread!!! Sorry, about that. I didn't read your thread closely enough. I thought you were being partly tongue in cheek. Please accept my apologies, and offer any insights you might care to if you can help on the similar thread re-Jazz titles.

Poor Mr Shepp He's going to develop a complex

Happy Easter Allen Lowe. The White Man's Got A God Complex