robertoart

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

When Leonardo da Vinci was a teenager, wasn’t he an assistant to Verrocchio?

I burnt a man alive for playing Sylvester's You Make Me Feel Mighty Real on our local jukebox.

There's' someone out there I used to know, who has a US Jimmy Smith 'I'm Moving On' cd. Probably still doesn't know it. I've looked for that one everywhere. Had to replace it with the Original Liberty vinyl

Nobodies going to do a Chamber Jazz/European Jazz tribute to that prancing pussy minstrel Instant loss of street cred right there

And most of them were jigsaw puzzles, in a way. As I understand it, the vast majority of what Kinkade's galleries sold were reproductions (of his own original paintings) that were hand-painted by trained artist 'replicators' (not sure what else to call them) -- and then he would personally sign each one, and literally add a couple brush-strokes of his own to the reproduction. Nothing seemed weirder to me (and I mean it, downright creepy) than knowing dozens of 'trained replicator' artists spent years turning out hundreds (or thousands?) of copies of his paintings every year. My wife's mother has at least a couple of his paintings hanging in their house, and my wife and I lived in fear every year at Christmas that she might have decided to give us one as a gift, which we would then have to hang in our home (gack). Fortunately that never happened, but there was a couple years there 10 years back when we were seriously concerned. EDIT: My wife just reminded me that her mom had a specific painting all picked out and ready to purchase, and that she (my wife) had to politely but very firmly telegraph that we really were just fine in the art department -- and that we really (really) didn't need any paintings, thank you much. (I'd forgotten it had ever gotten so close to an actual gift, but I guess it did.) No so weird at all really. Many artists who's work has such a demand have studio assistants who do most of the hands on work. From the most sophisticated artists, to the most banal and corny. Warhol was the master of this par excellence.

I am strangely attracted to this music. http://www.youtube.com/watch?v=BZ1n50jk74c&feature=related If Bon and the boys smashed their teeth in, they could bring Chet Baker's name into the scope of the project as well. Give it a bit more authenticity

Just visiting. The toilet is a dead giveaway. Surely you'd need a customised one.

Just saw his works via the Giuseppi Logan New York Times article. Truly awful imagery. The kind of stuff many contemporary painters pastiche with a twist.

Sounds like a job for Manfred. "We got back yards and back roads and...fjords." Ice baby!

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.

Ah, well there's a theme emerging here. No wonder they got...

Stick some old t-shirts in the f-holes and turn it up

Yes, that makes further sense again now, thanks. Great title, great cover. Anyone got any insights to this one. Although this cover and title works well as an enigmatic mystery too, as Paul Secor suggests.

No I clearly understand and agree with you mostly. My interest perhaps is that sometimes the difference between titles that sound mysterious and enigmatic can have multiple layers of meaning. For instance when I was a teenager, and I first saw the Lp 'A Jackson In Your House', I thought it was possibly a sardonic reference to the popularity of the Jackson 5. (from a fiercely independent avant-garde band). When later, I revisited the title (and knew there would be more behind the meaning), I subsequently learned that a Jackson was a (machine gun)? and became aware the title might be more sinister, or at least different, than a simple pop culture reference. Or perhaps more ambiguous again. Other titles I have learned of are rather straightforward cultural vernacular translations, like the song 'Jingles', which I later found out means money or coins. Yet it is still a lovely title that evokes sounds. Another Wes Montgomery song title, 'OGD; was a mystery, until the obvious translation of 'organ guitar drums; was revealed to me.

Wow, thanks for solving that mystery for me. Yes disturbing stories seemed to exist behind the google searches I tried too. It's a sad world in this regard. Wonder what the context for the titles meaning within the music, whether it related to older musical/cultural contexts or lyrics Ronald Shannon Jackson often referenced?

Having long had Lp's in my collection with titles that I find interesting but unfathomable, thought I would put it to the board to see if anyone knew of (or was willing to reveal) the meanings of titles I have no hope of culturally translating. Ronald Shannon Jackson's 'Barbeque Dog' is one such title I am at a loss to 'get'. Any other decoded titles would be of interest as well, ie, 'A Jackson In Your House'? etc.

Would that there were more like you... I've had to be more than an hour late back to work because I was having lunch with some Mac-cultists who had to stop by the apple Store to just touch a new model iPad. Another group kept coming up to me to show me there new iPhones, how neat they were. Me, I'm not a "phone guy" at all. If it makes and receives calls, that's good enough for me. I don't even text unless absolutely necessary. But these folks were just babbling on and on about Jobs this and Apple that, and....BARF, ya' know? The day Jobs died, some guy comes up to me all weepy, talking about "think about how many ways that man changed YOUR life". I was, like, yeah, I have an iPod now. What else? He got offended, and I had a good laugh. Go cry somewhere else, asshole, I have work to do. On a PC. That kind of Apple fetishism is far from uncommon, at least as I experience it. There's a lot of people out there, myself included, who do what they do just fine on a PC, and there's plenty people who get along just fine on a Mac. If/when I need to switch, I will, In the meantime, some of the Jehovah's Witnesses who come to my door are easier to deal with than some of the Macientologists I run into. It's them I wish viruses, open sores, and loss of firstborn. You'd be an even better better person than me if you ran LINUX.

Well, standards were never really big in the CTI repertoire of anybody. From the hindsight of history, there's more I like about CTI than I don't. Like late sixties Blue Note, it's a great label for hearing Jazz players take on urban blues/R&B. But then I like 'Hot Dog". Beyond The Blue Horizon is one of George Benson's greatest albums, easily.

Its a briefcase full of money, for curators to buy the works of young radical black artists.

Having babies and marrying multiple times is not at all unusual, especially when one considers Peterson's environment and the fact that we only recently have woken up to reality. I am currently compiling a list of jazz musicians who might possibly be straight. Please bear with me. Don't want to continue this much further, but I am trying to understand the terms here. Valerie above says that some of these musicians must be bi-sexual, which would seem to be accurate (assuming there's any merit to some of this, which I'm beginning to doubt quite frankly, and no, I'm not in denial). But Chris, stay with me here, you're saying that if someone is married to a member of the opposite sex for 50+ years (whether one marriage or several), dies married to a member of the opposite sex, fathers children, but also has relations with members of the same sex, that person's not bi-sexual; they're strictly gay??? This is a bridge too far for me. I'm not in denial mode or morally shocked or anything... and I don't mind discussing these questions. I asked Chris the very same question that John Tapscott rose again - however he seems to ignore it. So... Niko's explanation makes sense, but my point still is: it can be multi-faceted. You can be married, have affairs with people of both sexes... bi-sexuality exists. I quickly had the impression Chris was in denial-mode regarding bi-sexuality and found that a bit weird, but I guess I'm out of here now. I think it's crucial to note that, beyond the fact that bi-sexuality as a phenomenon (i.e., sex with both men and women) exists, bi-sexuality as a self-identifier is a very real thing. Reducing the conversation to a gay/straight dyad undermines the notion that many in the GLBT community do understand sexuality as more of a spectrum than a duality (and identify themselves at various points within--and not necessarily at the extremes of--that spectrum). This is actually a huge issue in contemporary sexuality--I've heard firsthand accounts of queer folk (self-identified as such) coming into tension with gay self-identifiers due to the fact that said queer folk are perceived as living in a non-committal, liminal space (i.e., get with the revolution). All this does is diminish the agency of people that do genuinely feel various degrees of attraction to both sexes, which is in its own way just as disenfranchising as perpetuating jazz's latent (or overt homophobia. On a different note, and keeping in mind I know very, very little about Arthur Rhames, I think it's interesting that Rhames's otherwise surprisingly detailed (for a relatively obscure musician) wikipedia entry completely omits any mention of homosexuality--especially considering his death at a relatively young age--in the late 1980's--due to AIDS-related illness. One of the more pointed passages in the liners to that Soundscape album that came out a while back was Vernon Reid acknowledging that (paraphrasing here) getting to know Rhames helped Reid "get over" his own homophobia. Obviously, Rhames's sexual orientation is totally incidental to whether or not the music moves you, but it's difficult not to see how the early death of this musician with remarkable potential was inextricably linked to the problematic nature of AIDS treatment/recognition/awareness. That's a very clear and relevant reason to discuss homosexuality in jazz. I think it's sad that Vernon Reid was homophobic, and sadder that it took someone who was the object of Reid's musical desires to help him overcome this. It's good though, that if he thought it was important to address Rhames sexuality in the liner notes, that he (Reid) was honest about his homophobia (if indeed this is what he admits to). I could not find any online source for the liner notes, but did find this very telling paraphrasing of them; "According to Vernon Reid, he was also a "deeply closeted" homosexual, and was "afraid that if he was 'out' that all of us in the 'hood who loved and worshipped him as an artist would turn our backs on him." In his final days, ravished by AIDS, Reid recalls him saying, with complete optimism, "When I get better and get out of here I'm going to concentrate on the blues because this experience has given me a new insight into human suffering."

No - that lot would be on the 'masochists' thread.. One of my favourite Peter Cook moments, Michael Parkinson Q. Peter what do you remember most about your public school days? Peter Cook A. Trying to avoid buggery.