Free For All

I don't know what they're doing in the high schools, but as one who teaches at a college I have witnessed a steady decline in writing skills of freshmen. I have my improv class write reviews of concerts they attend and what they turn in is frequently of poor quality. If this new SAT makes them focus on writing skills (at least enough to get through the test) it's a good thing IMHO. I do agree that there are potential problems in the subjectiveness of grading these essays. This will be where the problems (read *lawsuits*) come from.

I think your way is the best way to really learn the solo, Joe. I just like to keep a hard copy 'cause I forget stuff.

The problem is the system where all students have to do is regurgitate facts, dates etc. They don't have to organize/express their own thoughts. This parallels what I view as problems in jazz education- kids leave school with technical skills on their instrument but little or no imagination or creative vision. ....and Big Wheel, you're my new best friend. EDIT: Matt, I was just teasing. Kansas City is hardly a jazz "mecca"!

No; I see you live in Tulsa. That's punishment enough.

I figured that's what YOU would think!

I frequently utilize the split infinitive. B-) I didn't do "real well" on the SAT tests anyway.

Many of Duke's musicians. Basie's too. Dannie Richmond/Mingus

Is that a sentence fragment? Bet yer ass it is!

Hope you're enjoying yourself, I don't think you're going to be around here for long!

I think it's great that the SAT tests now will contain an essay section. It seems that writing skills have really declined; I say this based on papers I see from my students. Really bad writing skills. The thing I wonder about is how they will be able to fairly grade this portion of the test- it's obviously much more subjective that the other parts. Here's a story about it. What do you folks think about this?

My feeling about transcribing solos is that it is important to do it both by ear and by writing it down. The written version gives you a document that you might return to at some point. Yours looks great, BFB! The main reason to transcribe by using the ear is to better assimilate the solo and all of its nuances that cannot be commited to paper. I think this is much harder to do when the process of reading is involved. Most players close their eyes when they play because they want to remove visual distraction and focus more on the ears as the primary source of information. BFB's excellent manuscript also makes me think of another point- I make my students do a few of their projects (transcriptions, arrangements) without using any computer notation programs. Theirs is the generation that has grown up with the computer, and frequently I find that they can't write music legibly, which I believe is a necessary skill for all musicians. I think Finale, Sibleius and all the other notation programs are of great use- for editing, hearing material played back and copying parts primarily. But I also think that there is a part of the art lost when all charts look exactly the same, you know with the *jazz font*. I miss the personal touch of nice manuscript. I know that when I'm sightreading, part of my opinion of an arrangement is formed by the appearance of the part- now they all look the same. Convenience sometimes compromises quality on some levels, IMHO. I also get satisfaction from filling out a page of score paper by hand; I expect if made a living primarily from writing I'd embrace the technology more. I guess I'm becoming a "relic". Anyway, keep up the good work BFB! Thanks for sharing that. I'm going to have to dig out my Joe Pass CD and check it out.

Looks like you opened......

Did you *see* the hidden message, Jim?

I would say keep enjoying and practicing music, but don't bag school. I was by no means a great student, but by maintaining decent grades I was able to have more options when it was time to choose a college music program. I don't know if you're planning on going on to college, but don't write it off just yet. Keep your options open. I'm not saying you need to go to college to become a successful musician, but for me it was good preparation for what was happening "out there". So hang in there with the whole school thing!

Yes, the jazz Atkins diet contains a lot of Fats!

I envy you, having access to all those great stores. I do most of my buying online, but I miss those long leisurely afternoons going through the inventory at Jazz Record Mart. Enjoy listening to your new sides! You picked up some great music! EDIT: When I first saw this thread's title I thought "Uh oh, what club has closed now!?"

No shit!

I enjoy it, it's consistently engaging IMHO. With the wide variety of personnel it's a bit of an *all-star* event, which sometimes can cause it to lack specific focus. This one goes in a lot of different directions, and in this case I think it works well. Personnel: John McLaughlin (acoustic & electric guitars, midi guitar, keyboards, birds song, percussion); Nishat Khan (vocals, sitar); Mariku Takahasi (vocals); Susana Béatrix (spoken vocals, birds song, percussion); Stephania Bimbi (spoken vocals); David Sanborn (alto saxophone); Michael Brecker (tenor saxophone); Joey DeFrancesco (trumpet, Hammond B-3 organ); Tony Hymas, Jim Beard (keyboards); Paco De Lucia, Al Di Meola, Philippe Loli (acoustic guitar); Jeff Beck (electric guitar); Yan Maresz (acoustic bass); Pino Palladino, James Genus, Sting (bass); Mark Mondésir, Dennis Chambers, Vinnie Colaiuta (drums); Zakir Hussain (tabla); Toto (birds song, percussion); Don Alias, Trilok Gurtu (percussion). 1. Django 2. Thelonious Melodius 3. Amy And Joseph 4. No Return 5. El Ciego 6. Jazz Jungle 7. Wish, The 8. English Jam 9. Tokyo Decadence 10. Shin Jin Rui 11. Peacocks, The

Maybe this doesn't count, but Wayne initially turned Miles down, didn't he? As I understand it was just because he was fulfilling an obligation w/Blakey (it certainly wasn't because he didn't want to play with Miles). I would expect there were other situations similar to that.

I liked it enough to sleep with it and give it cab fare the next morning, but not enough to drive it to the airport.

Kinda got a Bridgit Riley thing goin' on there really: I noticed that someone on eBay sold that LP for over $300 I know we've discussed this before, but did you ever check out the "magic eye" cover of this one? John McLaughlin The Promise If you can do the "thing" you can see writing, even on this reduced image. I tried it and it worked. Now if I can just uncross my eyes.

Not that great... sad but true. Though there are one or two good tracks. Guy I'm just curious how (with those guys playing) it can be so bad? Are the tunes lame? Is Santana in over his head (or too far out of his element) perhaps? Any further insights would be appreciated. I've ALMOST purchased this one several times but haven't quite been able to pull the trigger. EDIT: I just added the personnel listing- do Herbie, Ron, Wayne and Tony play on many cuts? I guess I didn't realize there were so many others on the recording. Personnel: Carlos Santana (vocals, acoustic, electric & 12-string guitars, percussion); Raul Rekow (vocals, congas, percussion); Orestes Vilato (vocals, timbales, percussion); Alex Ligertwood (vocals); Russell Tubbs (flute, soprano & tenor saxophones); Wayne Shorter (soprano & tenor saxophones); Herbie Hancock (piano, Fender Rhodes piano, Clavinet, keyboards, synthesizer); Ron Carter (acoustic bass); David Margen (bass); Tony Williams, Harvey Mason, Graham Lear (drums); Armando Peraza (congas, bongos, percussion); Francisco Aguabella (congas).

Hey, you're entitled to your opinion. I think the contrasting styles/ timbres of the three horns is what makes KOB (and Milestones, which IMHO is every bit as good as KOB) so consistently engaging. Actually, KOB is what converted me into a Cannonball fan for life.

What, they don't have computers in Branson? B-)