Big Wheel

In a story that is getting almost no play in national media, Graham Spanier got himself a job working for the feds on national security issues. :wacko: :wacko: edit - this actually happened back in April. Does anyone know if anything changed about Spanier's plans to work on projects with the government after the Freeh report came out?

Probably not quite this simple. Double-Time is/was run by JD Aebersold, Jamey Aebersold's son. A lot (though not all) of the records are from players who are in the "professional jazz educator" world and live out in the hinterlands, but have connections through the education world with the Aebersolds. Marr was one of these - he did play-a-long records for Aebersold and was a clinician at the jazz camps he ran. As for why Marr is the only one with records in this style on the label...it's probably more a reflection of the fact that there are few pro teachers out there who focus strictly on 1960s soul jazz and lots and lots of them who are into post-Coltrane/Brecker playing.

I have this one and think it's very good to excellent - a pleasant surprise as I'd never heard of Law or Lloyd before picking it up. More "inside" and modal than what I usually associate with Hat.

Thanks for the tips - I already have that Shepp and the Nagl, as well as a few others. The Tapscott, Murray, Roach/Braxton, and Taylor are in my cart. Trying to winnow down the rest.

I guess they heard my whining because there's a ton of previously unlisted stuff there. 1. How good is the Bley? 2. Which of the Braxtons do I need? 3. Same for the Steve Lacy-which do I need? Only have some of Lacy's 50s/early 60s work. 4. How good is the Roach/Shepp?

Where does English Country Garden turn up? I'm mainly familiar with it from the outro to My Melancholy Baby.

FWIW, there's a tune on this Dorham/McGhee/Jones record by the same title...only it's actually what we know of as "Bags' Groove."

Did Blakey play/record it before At the Cafe Bohemia vol. 1 on 11/23/55? If not then Miles beat him by a week - the first entry in the Losin discography is for the first Prestige quintet record on 11/16/55. Edit - Blakey did play it on the Paul Bley Debut date in 1953, unless it's a different tune by the same title (don't have the record). Edit 2: it's indeed the same tune...just checked Rhapsody and you can hear the head in the sound sample.

Hey, if you want to keep up the impression that you saw the words "Fred Hersch" and couldn't wait to jump in with "OMG Fred Hersch is such a BITCHY BITCH QUEEN BITCH" without even reading the full DTM interview...keep doing what you're doing.

So when asked about which parts of an 18000-word interview are bitchy you cite...examples from a run-of-the-mill 1000-word blindfold test. Try again.

I'd be much less dismissive of your posts if you actually supported them with specifics. The board is much richer for it when people discuss stuff rather than just say the same unsupported opinion again and again.

OK. When you're done with this particular flounce then maybe you can tell us which specific criticisms you thought were "bitchy" instead of just asserting it over and over. (Not even going to try to unpack the gendered insult there.) Because as a piano player I thought virtually all of it was fair and thought-provoking. I enjoy Beirach's playing more than Hersch seems to but the criticism seems reasonable, as does the stuff he's not so into from Keith and Chick. (Does anyone out there really think the Elektric Band was anything but an abomination?)

The irony is that you've been about 5x as negative in this thread than Hersch was in the entire interview (which I'm not convinced you even read in its entirety). I won't comment on the self-absorbed part.

Not even in the same ballpark as Miles.

This is very silly. The point of DTM interviews is to be interesting - to give people on the outside a chance to see artists being themselves (which is, opinionated people with nuanced views on things) - rather than just a bland repeating of "oh yeah, that guy plays great" because of some bullshit musical omerta masquerading as "class". Hersch gave his candid opinion of how he felt about various artistic decisions without hitting below the belt. Whose time/feel got criticized? Shearing (in the context of praising just about everything else about him), Jarrett sort of (in the middle of a very informed discussion about how he thought the standards trio was a bit played out despite early Keith being completely brilliant). That's about it. Virtually every critical music-related comment was surrounded by heaps of praise. As for the personal stuff, is it really news that Stan Getz was a dick and Art Pepper's demons led him to engage in dickish behavior? The stories humanize both of them rather than just call them out.

He's a punk. A Terrell Owens lite. Too many guys like this in the NFL makes it more difficult to watch. Incorrect on all counts. Not only is #85 not a "punk" (he's totally harmless and has never been in trouble with the law), he's not even like Terrell Owens (whose egotism routinely bleeds over into his on-field play). Ochocinco makes watching the NFL FUN instead of some boring utopia where players aren't allowed to entertain the public in any ways other than those Roger Goodell likes.

If they wanted to limit the offer to previous customers there are any number of ways they could do this without using regular old coupon codes. They could simply ask you to provide some info on the receipt from your last order. I fail to see why the consumer is obligated to go along with the marketing framing (including restricting information to various channels) of businesses that offer deals. It's an exceptionally strange and customer-hostile view of business ethics. If Mosaic had titled the email "SUPER-SEEKRIT COUPON - DO NOT SHARE THIS INFORMATION WITH THE RABBLE OR YOUR OWN COUPON IS INVALID" then that would be one thing.

Also, the San Joaquin Valley is NOT the Bay Area.

Big, big topic, but thinking off the top, five indispensable Blue Notes that Joe just kills on are McCoy Tyner's "The Real McCoy," Andrew Hill's "Black Fire," Larry Young's "Unity," Pete LaRoca's "Basra" and Kenny Dorham's "Una Mas." Lots of interesting records of more recent vintage, too, but I've got to do some work. More later. +Idle Moments and at least one of the Horace Silvers (either Song For My Father or Cape Verdean Blues)

Really been enjoying this record.

Listened to a bit of disc 7 today...did anyone else catch Jimmy Hamilton quote Monk's 52nd St. Theme around 1:15 on C Jam Blues? Interesting to hear an Ellingtonian listening to bop as early as 1945.

Okay, so this isn't exactly a film as you usually think of it, but Brad Neely's re-narration of Harry Potter and the Sorcerer's Stone is a modern classic:

Can't stand Napoleon Dynamite. A painful watch. I get that the inversion of the Loser-turns-cool movie is part of the joke but...just not funny enough. Lock Stock and Two Smoking Barrels might be one of the funniest crime films ever made.

I like Jack Black and Tenacious D but thought School of Rock was mostly bad. Just didn't work at all for me on any level other than as an average kid's movie. Friday (the first one) had one or two hilarious scenes, not sure the rest of the movie was all that great. Might watch it again sometime to see how it holds up. The Hangover, on the other hand...was doubled over laughing from start to finish. Excellent sense of pacing too. Rat Race was mostly a pretty silly movie but the Jon Lovitz Hitler scene is one of the funniest sequences I have ever seen.

I'm reserving judgment on that one. Freeh was the worst FBI director in recent memory and one who was much more interested in playing bureaucratic games than he was in doing the FBI's job. If I wanted to pick someone who would give the veneer of an independent investigation while giving me a good chance of actually running a wink-and-nod whitewash, Freeh might be high on my list.