Joe

Too young. Mr. Soloff can heard to fine advantage here:

[sMH] Dude, dude, dude... rhetoric ain't reparations. It's attitudes like that holding us ALL back. [/sMH]

Chicagoan Jason Stein is a younger player producing some worthy and intriguing music on this instrument.

Jim nails it. We play way too fast and loose with the appellation "racist" / the word "racism" in this culture. Which is a terrible insult to those people in our culture who have had to live under truly racist conditions, i.e., where systematic violence is perpetrated against certain people because of the color of their skin or their perceived racial identity. (Bigotry is one thing; racism is something else, at least as far as I'm concerned.) "Racist" gets used now precisely for its triggering effect. Its usage says much more about the person actually employing the word than the one being targeted by it. And, also, you can't really "figure out" Buddy Rich and his contributions to the music by measuring him according to the established canons of "jazz drumming." You gotta remember that element of show business in the music's history too, for example... but it goes further than that...

Thanks! Looking forward to this.

Yes, I am reading this as a kind of double tribute: Taylor and Cortazar. My favorite Aira thus far has been VARAMO, which, among other things, offers a deftly satirical treatment of how the canons of literary Modernism have been constructed in and for Latin America.

Still making my way through this short story, but Aira is among the more important living South American (Argentine) writers, and one of the few fiction writers I can think of who has ever incorporated improvisation as part of his writing practice. http://bombmagazine.org/article/5992210/cecil-taylor "He played a note with his left hand, a deep B flat, which reverberated with slow submarine convulsions ... And that was all, because the lady of the house was standing beside him, closing the lid over the keys with a movement so smooth and effective it seemed to have been rehearsed."

If you can find Amina Claudine Myers' SONG FOR MOTHER E (Leo)... as Jim would say, carpe! Also, in the spirit of six degrees etc. -- Amina makes incredibly important contributions to this Frank Lowe recording. DIW also released some live shots (from SOUNDSCAPE) by this same group. Not easy to find, but worth the hunt.

Not my favorite (I'll take the original, ultimately), but a very, very, very nice jam on this tune regardless. https://www.youtube.com/watch?v=Rf7VrutWYRA

His version of Clifford Brown's "Donna Lee" (live) solo is , if anything, even more impressive.

[Capacity to comment temporarily disabled.] http://youtu.be/zz7LvCS1oXM

A couple of items of potential interest: 1) NELLIE was recently reviewed ( quite intelligently and generously) by David Eric Tomlinson for The Writers' League Of Texas. No spoilers! https://writersleagueoftexas.wordpress.com/2015/01/23/members-review-53/ 2) I'll be reading this Friday at the flgship Half-Price Books in Dallas with fellow TX author Thomas McNeely. Deets here: http://www.artandseek.org/event.php?id=62039 Thanks again; best.

Available via iTunes, no less!

Easily some of my favorite Rogers on record. Charles is also an important voice on this "I wish this has produced more than four tunes" session: Frank Morgan (as); Wardell Gray (ts); Teddy Charles (vib); Sonny Clark (p); Dick Nivison (b); Lawrence “Larance” Marable (d). Recording session for Prestige Records, Los Angeles, CA, February 20, 1953 467 The Man I Love # 7" 45: prEP 1307 468 Lavonne # 7" 45: prEP 1307 469 So Long Broadway # 7" 45: prEP 1307; 78 rpm: Pr 889 470 Paul's Cause # 7" 45: prEP 1307 All titles are on 12-inch LP: Prestige LP PRLP 7008.

Anything featuring McLean + Waldron gets both attention and affection from me. And I actually kind of like how lugubrious Draper could be... this may be hard bop, but these guys are not conventional hard boppers by any stretch of the imagination.

Bob Enevoldsen (tenor sax, valve trombone) and Stu Williamson (trumpet, valve trombone) are a couple of "white," California-based, "West Coast," "cool"-affiliated players whose playing isn;t as easily slottable as those labels / shingles hung suggest. Lots of nice sideman appearances in each man's discography... e.g., Williamson on Elmo Hope's Pacific Jazz quintet date, in a frontline with harold Land; Enevoldsen on the Herb Ellis / Stuff Smith LP... but the Andorran entrepreneurs have also assembled their otherwise rare leader sessions in some handy compilations that are worth acquiring if the right circumstances present themselves.

There's also Paul Smoker's GENUINE FABLES on Hat, with Phil Haynes and Ron Rohovit. MISSISSIPPI RIVER RAT, on Sound Aspects, is also worth hunting down. Herb Robertson is, IMHO, still a terribly underrated musician. Versatile, witty, but also somehow who plays with a lot of fire. IIRC correctly, he's recorded with Dominic Duval and Jay Rosen in a trio setting... for Cadence and CIMP, so there's that caveat. His JMT / Winter + Winter Bud Powell recital, however features a brass quintet (Brian Lynch, Vincent Chancey, Bob Stewart and Robin Eubanks) backed by Joey Baron. Someone has posted a liver performance (radio shot?) of this same band, more or less (sub Steve Swell and Joe Daley) playing Robertson's arrangements to the Tubes. https://www.youtube.com/watch?v=ZnBxnYgB3j4

Just wait until you get to the episode featuring Frank Gorshin as an extraterrestrial deli favorite (one with less than six degrees of separation from Seinfeld)!

Thanks for sharing this!

Saw that same tour and I gotta agree... it was pretty special. I mean, it was kind of like a touring Vegas review, but it was put together with great intelligence and even love. I was talking with an acquaintance afterward about it (I'd not known he had gone to the same show), and we were kind of laughing about the "deep cuts" the band played (e.g., "The Door Into Summer," most of the HEAD soundtrack), but, as he rather sincerely noted, "Yeah, it was like hearing THE WHITE ALBUM played live!"

Yeah, you can't judge Clark as a songwriter by his years with The Byrds. Not that he did not write some fine, fine songs for them ("I'll Feel a Whole Lot Better"). But the real deal is to be found on the Dillard & Clark LPs, the 70s solo albums, and even on occasion in the 80s, when he went full-on Nashville and experienced a sort of mini-Renaissance. Here's a pretty good anthology that pulls work fro all these disparate sources and provides a fuller picture of what the man's music was all about. http://www.allmusic.com/album/flying-high-mw0000453561

Gene Clark is to Gram Parsons as Arthur Lee is to Jim Morrison. Papa Nes is no Townes Van Zandt, to be sure, but he's no Mac Davis either. Nesmith has appeared recently on PORTLANDIA. He still has comedy chops. https://www.youtube.com/watch?v=eRm0I7cTSNE There was a BS quotient to his solo tour last year (the spoken introductions to the songs), but the songs themselves retain much of their charm.