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jazzypaul
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Posts posted by jazzypaul
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I'm not exactly sure why it bugs me so much, but I'd like to see open-eared listener and all its variants permanently banned.
A small sampling:
"...enjoyable set which is definitely for the open-eared due to the wide variety of styles."
"...repeated listenings will reveal a great deal of beauty for some open-eared listeners"
"...recommended to open-eared listeners"
"...exotic instruments and three strings to create some particularly unusual music. It's for the open-eared listener only."
"...open-eared listeners are advised to search for this important historical set."
"...this LP, which is worth a search by open-eared listeners"
"...well worth several listens by open-eared (and tolerant) jazz fans"
"...this rather esoteric CD is strictly for open-eared modern classical listeners"
"...certainly not for everyone's taste, the truly open-eared will find the innovative results quite intriguing"
"...it is recommended strictly for the open-eared listener who does not demand that all jazz swing conventionally."
you pulled all of those from my reviews from the past year at Chicago Jazz Magazine, didn't you?
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I know there's sales tax in America. I know it's different in different states. So, when you buy something on line from say, Mosaic, or Concord or Amazon.com, does the firm add on the sales tax for the customer's state, or the tax for the seller's state, or no tax at all?
The thing is, if the price to American addresses is the same as it is to British ones, and includes sales tax, we're paying taxes to some US government (which?). So I want a vote
I don't really; what I want is cheaper records, of course.MG
for the most part, mail/online purchases don't incur sales tax unless the sale is made in the state of the transaction (so, I believe Mosaic is in CT. If Joe Blow buys a couple of Mosaic boxes in CT, he pays the tax. If Joe Blow is, say, me living in Illinois, then I don't pay them).
I would assume that the same goes for international sales.
Does that help?
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so when is there gonna be a Chicagoan O-board meet up?
several of us manage to get together every year at the jazz festival on labor day weekend. of course, that's a long way off, so you're welcome to get something going before then.
I tried convincing some folks to come up to the place I was playing at after the fest on the Friday last year, and I got stone cold ignored by everyone.
THAT boosted the self esteem, to be sure.
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so when is there gonna be a Chicagoan O-board meet up?
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Blake,
I wasn't even thinking about the Vandermark Jazz series on Wednesdays when I referred to jazz of a rather odd variety. On the weekends, they're also apt to do oddball funk-jazz psychedelic freak out bands (i.e. the bands a lot of my friends are in).
Von is indeed still doing the New Apt. Lounge thing.
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Thanks Paul for that information.
What other clubs can you go see some jazz in the Chicago area? I would be in Oakbrook, IL. That should be close to the city proper.
Well, it all depends on what you're looking for and how much you're willing to drive.
Being in Oak Brook does open up your possibilities, because you're close to the western suburbs via I-88, Roosevelt or Butterfield Rds, and of course, you're only about 12 miles outside of the city and about 20 miles from downtown.
If you're looking for more straight ahead stuff, I'd recommend the following...
Andy's Jazz Club (11 E. Hubbard): mostly straight ahead fare, always swinging. Good stuff.
The Green Mill (Lawrence & Broadway): the most legendary jazz club in Chicago, and with good reason. That said, sometimes it can be a real bear just getting in, and that says nothing of the parking, which can also be treacherous. And, with no train service from Oak Brook, driving is kind of a must.
Pops for Champagne (Ohio & State): a nice club down the street from the old jazz showcase. Dan Cray and some other really great players play there on a weekly basis. The parking problems here are just as severe as they are at the Green Mill, but at least everyone valets in River North.
Katerina's (Irving Park & Damen): this place is a mixed bag, but the music's always good, and the food is yummy.
or, if you want to avoid the traffic and you're in town on a Thursday, head out to Wheaton to a little restaurant called Adelle's (1060 W. College Ave. Wheaton, IL). They have some nice duos and trios playing on Thursdays.
For more adventurous ears...
The Hideout (1300-something W. Wabansia). It really is a hideout, as it's kinda in the middle of an industrial park, but the music is great, and when they have jazz (call ahead), it's usually of the rather odd variety.
The Velvet Lounge (Cermak & Wabash, I think): Fred Anderson's place. There's always something happening there, and much of the time it's pretty cool.
There are plenty more places to check out, and you'll want to go here for more info as you get closer to coming out.
And, you're always welcome to come see me if I'm playing anywhere...
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It's supposed to be reopening some time soon. They have the space, everything should be in place. I have yet to hear an actual date yet, however.
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Listened to 1-20-68 this morning. It opens with a smoldering version of Clementine, a song I wish they would have expounded upon more often.
I love that show. Every tune in that set is just killing. I was listening to that one last week.
I bet an organ trio could rip into Clementine...
On your copy of the show, is the Dark Star victim of a fade-out after a couple of minutes?
yeppers. kind of annoying to be sure.
my trio's doing Dark Star and Eyes of the World as of late, if that's any consolation.
And the new Sabertooth album features them doing China Cat Sunflower, and it's kinda cool.
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Listened to 1-20-68 this morning. It opens with a smoldering version of Clementine, a song I wish they would have expounded upon more often.
I love that show. Every tune in that set is just killing. I was listening to that one last week.
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call me a spoil sport, or an asshole, or both, but I really don't see the point in Santa Claus, and I don't know how I'm going to handle this with my daughter. Both of us grew up in Santa-less households for varying reasons, so it's not really a big deal for me or Christina.
You remind me of a scrooge boss I once had. He told me that he and his wife didn't believe in giving gifts to each other - if they need something, they buy it. Otherwise - forget it. But they did decorate, and had gift-wrapped boxes they would put under the tree.
If you and your wife don't celebrate Christmas - or don't celebrate it with gift-giving - then raise your child accordingly.
Umm, thanks dude.
We totally celebrate Christmas, but between Christina being raised by independent baptists and me asking way too many questions way too early for my parents to even try, neither of us really "did" the santa claus thing. If that makes me a scrooge, then this world is too fucked up for words.
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call me a spoil sport, or an asshole, or both, but I really don't see the point in Santa Claus, and I don't know how I'm going to handle this with my daughter. Both of us grew up in Santa-less households for varying reasons, so it's not really a big deal for me or Christina.
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happy birthday!
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alright, we know that the sonicbids "pay to submit" plan is a total scam, but has their EPK actually done any good for you, Jim?
No.
The whole thing was a waste of money. We never got one single gig or review or festival or anything out of the whole deal. Nothing. Spent well over $300 applying for various things, too.
If you want an EPK that you can mail out to people via a link, it isn't hard to create one on your own website. But frankly to me, that's what a band's website is anyway, isn't it? Just a big EPK.
Getting gigs is all about building personal relationships. Sonicbids is the anti-thesis to that.
okay. I built a sonicbids EPK, but haven't paid for it yet, so it's not up and running yet.
Our website sucks, and frankly, I have next to no computer expertise, outside of knowing how to rock on photoshop and finale. Unfortunately, neither one will help you to build a website. My brother in law set it up for us (using wordpress as a base), but he doesn't have the time to keep it up to date.
Arrgh.
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alright, we know that the sonicbids "pay to submit" plan is a total scam, but has their EPK actually done any good for you, Jim?
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We were thinking about going the sonicbids route. Does it work well as just a way to have an EPK ready and at hand, or is it completely pointless all the way around? Right now they're guaranteeing a at least one gig through them in six months, or they give you six months free. But if you're shelling out hundreds of dollars to get a gig that might pay a grand, is it really worth it?
I kinda thought that the submission fee thing reeked of bullshit, and I'd personally rather just attempt to make a personal contact on that front.
Anyone else see any use for an EPK at all?
and seriously, I have to wonder every day whether or not our stuff is even up to snuff. I dunno. self doubt + scam artists = serious impact on getting gigs.
Any advice?
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I'm with Lon on this...
The poll mentions the money part of the equation, which is the most tangible part of the situation, but it doesn't say squat about moderators. If there was a way to answer multiple ways, I'd say the following:
quarterly fund drives are optimal, but really, this is Jim's board, and he needs to do with it what he feels is best.
Under no circumstances do I think he should pay for us to hang out on his dime, using his bandwidth and hard drive space. And unfortunately, this isn't a situation where people can pay with services in kind. So, cash is the way to go.
That said, the fact is that this is a board run by a band. Not fans of a band (like Umphree McGee's "bort"), not a record company, or anything of the like. This is run by one guy who decided to be nice and open up his website to a whole bunch of cyber slackers needing a place to converse. I can't possibly imagine how much effort must go into getting this live, protecting it from hackers, keeping the peace, etc, etc, etc. And that doesn't even mention the idea that someone might think that the band promotes some of the crazy shit talk that happens in some of these threads. If this site has taught me one thing it's this: don't ever add a forum/bulletin board to my website.
If anything, I think the smartest thing that could happen would be that someone with the time, energy and resources to run this thing would buy it off of him and run it themselves, thus ridding Jim of the problem, while still allowing access to the board for the people that come here everyday to talk all of the stuff that gets talked about on a daily basis.
(why do I always end up writing essays whenever I start typing?)
As to why monthly drives are not a good idea: if you mention something so often, it becomes very easy to tune out. Better to really make a hard sell 3-4 times per year and try to get a bunch of people interested than to give people the chance to ignore it.
That's my $0.02.
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Sweet -- I call the Afterparty's at jazzypaul's place.
yeah, we could have one helluva drum circle over here.
I will pitch in when I can. New baby expenses are kicking my ass, as anyone that's had a baby can attest to. Maybe I could do an Allen Lowe style buy my CD and the profits go to Jim kinda thing. PM me if you're interested.
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handful of things:
1) birth of beautiful baby girl.
2) bought our first home.
3) released first CD.
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our first review! From Chicago Jazz Magazine, which I also write for.
Mainstreamism (Serial Jazz Records)Paul Abella - Percussion
Mitch Corso - Guitar
Bob Ferraris - Upright Bass
The "other" CD critic on this page (in case you weren't aware) is a
percussionist who plays around the town. And he's released an album
entitled "Mainstreamism."
Here the idea of "Mainstreamism" isn't limited or confined, but takes
on a wide breadth. Included is an eclectic mix of everything from the
traditional "Caravan", to Pat Metheny's "Bright Size Life", a new
standard in "Losing My Religion", and the well known Spiritual, "Amazing
Grace."
The trio of Paul Abella (percussion), Mitch Corso (guitar), and Bob
Ferraris (bass) offer a certain set of beats and stylistic coupling which
isn't frequently put forth so well by bands. On this album, you'll
find a lot of Latin flavor with flare; applied to tunes which aren't
necessarily thought of as "Latin" inherently. They make this work, not by
trying to force feed the songs into what might be stereotypically
thought of as "Latin Jazz", but merely in changing the context somewhat for
a different sort of sound mix than one would usually expect. The
result is an interesting take on things that makes for a good listen.
Their group starts off with Caravan. Right away you realize how
seriously Corso rips it up and really gets grooving on his electric guitar.
He obviously has some rock influence, though coupled with jazz
knowledge and sensibilities. Yet, as they move along to the other tunes, one
recognizes another side of his style: more relaxed while still being
dead set into things. Throughout, he shows himself as a significant
highlight on this disk with every proceeding track.
Corso later even adds a vocal on "Baby Baby All The Time" (blues by
Bobby Troupe.) This track, I think, offers the best tune for overall band
sound with everyone getting together nicely and jiving well.
Abella relies primarily on bongos to express himself on the recording.
(A thoughtful addition of djembe and shakers for "Le Vie En Rose" does
help to give extra flavor both to that particular number and the disk,
overall.) His work is sometimes quite fine and always solid. However,
he does seem to overplay in places. It might have gone further for
him to sometimes lay back into more sensitive comping that would have
allowed a better balance to the band, while opening up opportunities for
greater ideas in finding his own unique musical line therein. Indeed,
the aforementioned Le Vie En Rose is a fairly good example of
where he manages to accomplish just such.
Still, at other times, his zestfulness really sparks things, too. On
"Lucky Southern", for instance, Abella has the right idea throughout;
which keeps things tight, interesting, and moving. He lets loose and
gets it cooking, especially, with an excellent solo. Providing a solid
thrust to this tune, he brings his own pulse to connect deeply and
rejoice within your spirit.
A nice, tasty, short solo by bassist Ferraris on "Losing My Religion"
offers insight into his deep, full sound which I would have liked to
hear more extensively beyond its usual role in accompaniment on this CD.
I must say that the entitlement "Love Blossoms At Stateville" scared me
somewhat. But it not only worked, it fit with the kind of sensibility
that one might expect. Gritty, enthralling, even paradoxically
gorgeous: full of life springing up through the rough terrain. Corso's
guitar work here takes off into flights that enrapture, and is well
complemented by the subtle bass lines thrown down below while Abella keeps a
steady beat to provide it's center of focus. Too often new compositions
(as this selection by Abella is) don't prove to be the hottest thing,
but this is an excellent effort that I find worthy!
The liner notes tell us that they often end their live sets with
"Amazing Grace", and so they have chosen to conclude this disk in the same
way. It's an enjoyable, relaxed take which makes for a fitting
conclusion to wind down at the end of this hour long listening experience.
~ Tim Gault
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I thought Underground was nothing short of amazing. I too saw them at the Showcase (hell, I might have been there the same night as Sal! For someone that comes from the same town as me, it's shocking that we've never met...), and thought they burned. The only bummer was that I got robbed coming out of a mexican restaurant after the show.
When he came through with that band again at the Old Town School, I MC'd the show, and was really excited. dragged Christina out for it, and it was...boring. All of the songs built the same way, did the same things and played over the same groove. The only thing that really stood out was Togo (which is on the live disc, too), and that was killin'.
I really agree with Sangry's assessment that this group is even better for standing right up and saying, "THIS IS WHAT I THINK JAZZ SHOULD SOUND LIKE RIGHT NOW," but after having heard it a couple of times, I'm a little bored.
I hope he keeps working in this format though, and I hope that they keep finding new ground to stand on, because it's an interesting idea. Unfortunately, at least to these ears, it's an idea that got stale kinda quick.
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up, because it's "the holiday season" and I need to sell some cd's. It's halfway decent, I promise.
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Good Work, my man! Congratulations!
well, I didn't do too much work. The honors and applause and the like should go to Christina for having to carry around a baby for 9 months without getting to put her down even once.
Thanks for all the well wishes.
Can you post pics on here from one's own computer, or do they have to be web images?
oh, and by the way, the name is Elaine Georgette. Elaine was Christina's middle name and her mom's middle name. Georgette was my grandmother.
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I'm finding that I really like the "stripped down" model of the Dead, seems to me Kreutzmann could handle anything thrown his way very nicely. Garcia's guitar sounds like it had a much harder edge on this recording than I've heard before, and it sounds powerful.
I'm gonna have to disagree with you here. Haven't heard Three from the Vault yet, but by 1973-74, it feels like Billy's trying to fill in all of the places that Mickey might have played. I went back and listened the soundtrack from the Grateful Dead movie the other day, and Billy was almost unlistenable in spots.
Glad to be seeing good reviews of Three from the Vault though. It's on my wish list, and the tidbits I've heard here and there, I like quite a bit.
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On November 8th, I became a daddy.
I was gonna post a picture, but I can't figure out how to do such a crazy thing.
Anyway, she's happy, healthy and doing well, as is her mom.
Banned Review Cliches
in Jazz In Print - Periodicals, Books, Newspapers, etc...
Posted
how about, "tinkling the unweighted plastic composites," then?