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Big Wheel
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Posts posted by Big Wheel
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The trustees probably wield more power at a large public institution like PSU, but I doubt it's enough to oust Spanier from the faculty completely.
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Re Spanier staying on the faculty, that's just how academic tenure is. If you think it's hard to boot a public school teacher, firing a tenured university faculty member, let alone a former president? Forget it. I doubt the board of trustees would be able to unilaterally fire Spanier even if it wanted to. There'd probably have to be some sort of faculty Senate vote and even a 50% majority might not be enough to remove him from the faculty.
Getting universities to change this system is like doing donuts in an ocean liner.
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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?
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The only Double Time albums I've got are the ones by Hank Marr. None of the others look much like Soul Jazz. I suspect Hank only got on the label because he was local.
MG
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.
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Does anyone here have an opinion of John Law's Abacus, with Jon Lloyd, Tim Wells and Gerry Hemingway? The samples sound interesting.
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.
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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.
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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?
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Where does English Country Garden turn up? I'm mainly familiar with it from the outro to My Melancholy Baby.
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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."
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Wasn't Blakey (at least) using it before Miles? Or not?
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.
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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.
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Looks like a few voices of dissent have been aroused. 'I die happy' (;
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.
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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.
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For the record I did read it all the way through.
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?)
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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.
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Not even in the same ballpark as Miles.
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It's mean-spirited, unnecessary, and shows no class the way he bitches out everyone's time feel, etc. and talks about himself with great importance.
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.
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The Patriots have released Chad Ochocinco.
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.
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We'll disagree on this thenn mjzee. I think it's Mosaic's business decision to define their community. If they want to limit an offer to people who are previous customers or who have agreed to share xontact information, not offer discounts to everyone, that should be their choice. If I thought they were selling at a loss (loss leaders) it would bother me more.
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.
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Also, the San Joaquin Valley is NOT the Bay Area.
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Been offline for a while but listening to lots of Joe H. Anyone got recommendations of Joe on other folks records? There are a lot of sideman performances and thought I'd look for some. The Penguin Guide in my old edition recommends Richard Davis' Fancy Free (which I can't find) Any other stellar performances out there on other peoples records that I'm missing?
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)
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Really been enjoying this record.
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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.
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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:
what are the 2 most powerful moments you've seen on tv?????
in Miscellaneous - Non-Political
Posted
Being the opposite of a morning person means you miss a lot of news. I slept right through the events of 9/11 and didn't learn about it until a friend called me and woke me up.
For me the ones I remember are...
1) the Music City Miracle:
http://www.youtube.com/watch?v=wPhONc6xC48
Not being a Titans fan and hating the Bills, I didn't even care about this game, but happened to be at home doing nothing and had flipped it on in the 4th, only to catch this finish. The Wycheck throwback to Dyson seemed much longer at the time than it does on this replay. (Did anyone see the Cal/Stanford "The Play" live?)
2) Probably the Red Sox breaking the curse of the Bambino, but especially the ALCS Game 4 that year against the Yankees.