Bright Moments

big al dont go to sleep yet! 79- 79!

heat looking good!!!!!!!!!!!!!!!

he is a cry baby!

happy birthday!!!!

and if he begs off - i will! gosh darn paul - u r fast!!!

congrats!! now you can listen to your brotzmann exclusively in the car like the rest of us!

hey! i resemble that remark!!!!

thanks!!!!

whew!!!

if heat win tonight the fat lady starts singing!!!!

I couldn't agree more. And to think of that foul that Shaq put on Stack in the earlier game that resulted in stitches? Come on. It obviously is NOT a two way street here. What the league is doing is protecting Shaq, and it total horse shit. dude - big daddy don't need no protection. the NBA simply went overboard on the suspension.

the suspension is pure BS!

also got this one for half price. quite different from deep song! we got some fusion over here. sweet!

so i had to find david darling all by myself? for those who dig the ECM sound only.

Sorry, but the Mavs and Spurs played two rounds ago.

what's so sad about the two best teams in the nba playing a tight final series, each winning in their own house? this one should go to 7 games!

what a spanking!!! looks like i may get that cd yet big al!

R-E-S-P-E-C-T!!!!!!!!!!!!!!!!!!!!

the heat are smokin'!!!!

picked this up for half price at a brick & mortar - enjoyable!

rick allen - one armed drummer

Creative Jazz - http://www.scaruffi.com/history/jazz16a.html (also not concise)

Improvisational Jazz from - http://www.selfhelpmagazine.com/articles/wf/jazzman.html Doug Little is a jazz musician and a member of The Motion Poets, an improvisational jazz band. Doug described improvisational jazz: The song form provides the rules for improvisation, otherwise the music would be random. If everything is free, it is not going to be focused. You have to have some rules. Improvisation comes only after long practice makes the song form second nature to the musician. Then I am comfortable improvising over the song form. The better you get the simpler the rules seem. At the highest level the musician does not think about the form but just performs. The improvisation over a song form is never duplicated. The whole idea of jazz is that once you have played it, it is gone. What I play will inspire the drummer to play something. The drummer might inspire me to play something. The musicians listen to one another and make spontaneous decisions. The possibilities are endless. It is always within the form and it is always interconnected with each person but it is never the same. The joy of performing is the group sound. I can't play whatever I want whenever I want. Jazz is democratic music and everybody gets to solo but only within the context of the whole. The group is what is the most important thing. Sometimes the best thing for me to do is not to play. And to respect another's musical space. (more at above link)

Avant Garde Jazz - from vervemusicgroup.com Jazz History - Avant Garde The 1960s in America were filled with social unrest, with protests against oppression and racial discrimination. The "avant garde," (translation: "advance group") as with other musical styles, reflected the social and political climate of the time. Avant garde, a term used synonymously in the 1960s with "free" jazz, first gained recognition in 1958 through saxophonist Ornette Coleman, as well as other pioneers including pianists Cecil Taylor and Sun Ra. The avant garde challenged the listener by allowing the musician to choose his own musical path rather than follow the traditional approaches to which jazz musicians had previously adhered. All aspects of the music were at the discretion of the improviser. The music often transcended recognizable pitches and musical shapes, allowing moans, shrieks, and cries to convey the energy and emotional discourse of the individual musician. In 1960 Ornette Coleman made his revolutionary "Free Jazz" recording featuring collective improvisation between double quartets. Although collective improvisation became a major component within the avant garde movement with recordings including Coltrane's "Ascension," and "Om," the concept of group improvisation dates back to early New Orleans jazz at the turn of the 20th Century. As early as the mid-1950s, jazz musicians including Charles Mingus with his recording "Pithecanthropus Erectus," began re-introducing collective improvisation into modern jazz. In 1959, Miles Davis introduced modal jazz into the mainstream with his composition "So What," allowing the soloist more freedom to explore new ideas by simplifying the chord changes. Saxophonist John Coltrane took on the role of "father figure" in the '60s, bringing exposure to younger avant garde musicians including saxophonists Eric Dolphy, Archie Shepp, Pharoah Sanders, and Albert Ayler. Coltrane would spend the rest of his short life expressing himself musically through the avant garde, also labeled the "new thing" movement. In the 1960s and '70s, Chicago developed an avant garde scene led by pianist/composer Muhal Richard Abrams. In 1965 he founded the Association for the Advancement of Creative Musicians, whose members eventually included saxophonists Anthony Braxton, Henry Threadgill, Chico Freeman, and the Art Ensemble of Chicago. Avant garde styles practiced today can be found in the work of musicians including saxophonists Steve Coleman and David S. Ware. New York City's "downtown" scene headquartered at the Knitting Factory is also a breeding ground for new and experimental music. The musicians in that sphere, such as saxophonists John Zorn and Tim Berne, trumpeter Dave Douglas, drummer Joey Baron, and violinist Mark Feldman, have helped to reshape new directions for the avant garde.