Free For All

Wasn't there some Rod Levitt stuff in there too?

Does this look infected?

Actually I like to have the rhythm section players solo first every now and then- I think it's important to vary the solo order for musical reasons (avoidance of "format stagnation") and also 'cause it's a drag for them to always "bring up the rear" and wait 'til all the horns have played. 'Cause if there's one thing I've learned, it's that if the rhythm section ain't happy, ain't NOBODY happy!! So I say let the bass player play first! .....of course not on every tune.....

Keith Jarrett.............? B-)

H B M M !

Yeah, I'd go up to $40 a day. Are meals included? B-)

Hey! She can cook her "fat ass" off! And I suppose you also read Penthouse for the recipes.

I think you'll get some responses............... B-)

I think it's a good question, Dan! I think the soloist's approach should always be based on the direction of the music at the moment. Many times have I stepped up to the mic with a general idea for where I want to start a solo only to have the music do a 180 at the last moment- for example, maybe the drums drop out, or the volume level drastically increases or decreases,etc.- in general, something unexpected happens that makes a former plan suddenly seem inappropriate. IMHO, this is most always a good thing- it shows some incentive by the rhythm section to be creative and not just play static accompaniment. It requires the soloist to be flexible and reactive to the moment (I always compare being a soloist to being a shortstop- you never know what you may be called upon to do, but you better be ready for anything!). This kind of playing by a group is what keeps me consistently engaged as both a participant and listener. That being said, I do notice that the first soloist on a tune usually plays to an accompaniment similar to that played during the head. Sometimes they will come "charging out of the gate" or not, but it's usually the subsequent soloists that will start out with a more dramatic change in accompaniment, like dynamic increase/decrease or textural increase/decrease (various players in the rhythm section dropping out temporarily, etc.) or rhythmic variation (double time, half time, etc.). One of the most important things to remember as a player is to ALWAYS be true to yourself. Don't try to be someone you're not. This "rule" comes into play when following another soloist, particularly one who might haved just played a spectacular solo. If you appoach your solo with an attitude of "I'm going to outplay that guy" you more often than not will fail, IMHO. I think being comfortable and confident with who you are musically is something that comes with experience, preparation and maturity. My feeling is that contrast is what makes a series of solos interesting on a tune, so maybe it's sometimes a better choice musically to not have each and every solo reach the same orgasmic conclusion in the same way. That approach gets too predictable, AFAIC, and predictability is what creates boredom. I know that if the soloist preceeding me plays a marathon, high-energy solo, it's not necessary, or even desirable, that I do the same. I know I'll get a chance to do that later. The rhythm section and soloists should function as if having a verbal conversation- it can be a heated debate, or a casual monologue. If everyone "talks" at once all the time, nothing gets said. Sometimes the best role to take in a conversation is that of listener- in musical terms this would be akin to players "laying out" from time to time. I think the most important thing is that there shouldn't be a formulaic approach- variety, unpredictablity and flexibilty are what make things interesting. The needs of the music should always supercede the needs of the ego. Live long and prosper. Just wanted to "solo first" on this one before Sangrey steps in and writes the definitive response. Edited for spelling clams

Heard Horizon Saturday night- Victor Lewis, Ed Simon, Curtis Lundy (subbing for Essiet Essiet) and of course Bobby. They sounded great as expected- mostly material from the new CD. These guys really seem like they're having a ball when they play, and they have played together enough that there's a real sense of a "shared consciousness" between them, esp. Bobby and Victor. The group came out to a local club last Thursday and I got the opportunity to sit in with them on a couple tunes. Sometimes you play with a non-responsive rhythm section- it feels like you might as well be playing with an Aebersold play-along. With these guys, however, they listen so hard- it's like a car where you just tap the accelerator and it goes!! They respond to everything you do right away, especially Victor Lewis, so you better choose your "words" carefully! Definitely addictive.

...as opposed to successful implants, which bring to mind....

:rsmile: :rsmile: :rsly: :rsly:

W e L c O m E B a C k ! ! !

BTW, just for the record, she pronounces her name REE-nee (long e sounds, rhythms with "beanie") not rah-NAY. In case you were wondering.

I agree, great music. The alto soloist is Dan Higgins, who happens to be a graduate of North Texas. I'll bet Sangrey knows him, or can speak eloquently of him.

I believe you meant to say Footsteps Of Our Fathers.

Have we mentioned Portrait of Cannonball yet? Philly Joe, Sam Jones, Bill Evans and Blue Mitchell. Nice band! Includes a nice version of People Will Say We're In Love. One of several good tunes to come from the show Finian's Rainbow (others: Old Devil Moon and How Are Things In Glocca Morra? )

Oh, you're just loving this, aren't you?

Nice to have AMG up and running finally!

What is this, a new "sensitive" Chuck Nessa? Let it fly, baby!

Couldn't resist, Johnny!

Mmmmmm.....liver cake with small crunchy pieces of coarsely grinded coffee beans.........fugu livers............

You notice that even though North Texas is now called the "University of North Texas" the radio station is still KNTU? Of course, if you consider the alternative..................

A couple of my favorites. Great sound, incredible time. Perfect foil for Trane.