Free For All

Hell yeah, what was I thinking? Also, any of the Sco w/Dennis Chambers.

I don't think they can take ANYONE for granted, even the "Oakland Steroiders". I'm just concerned who they might have to play in post-season. Some of these tough-division teams will be battle-hardened.

OK, I'll play. Michael Ball-Brecker To-be-Ornette-to-be Coleman Roland.......Roland........Roland-on-the-river Hanna Baby Ella Fitzgerald Walk Eddie Mar-shall!Mar-shall!Mar-shall! Stan whatever-Lola-wants-Lola Getz Kenny-play-I-don't-think-so G

H a P p Y B i R t H d A y A f T a B !

Holst's Planets. Chicago version, of course.

Thanks Ooster!

Yes, it'd be difficult to talk about Ahsaan Oland Irk. Or Ed Odney. Or Enee Osnes.

I had a bad feeling about this game all week. I was afraid that it would be one of the "lesser" opponents that would bring KC down instead of one of the hyped games like Denver or Minnesota. The Bengals played a great game and deserved to win. It's almost a relief that this "undefeated" hype can go away now. We'll see if the Chiefs can make a gut check and get it together. The Titans are looking pretty scary right now as are the Pats, Cowboys and Panthers. It ain't gonna be a cakewalk, that's for sure.

Late post-deadline after-the-fact suggestions: Ballads: Infant Eyes, Miyako Howzabout Talkin' About JC?

I just ordered the Stitt and Tristano. What's the verdict on these? I know the Tristano doesn't duplicate any of the material from the Mosaic set. I've been very happy with the Proper sets I've ordered thus far. Now I must save up for the Eldridge Mosaic. And the Amy and Pearson selects. Still haven't gotten the Chambers and Patton. Must........own..........EVERYTHING!!! Will it never end? I hope not. B)

I'm 45 and I have those same problems.

Just ordered: Stitt Proper box Tristano Proper box Willis Jackson "Soul Night Live" and "Together Again' w/ McDuff King Crimson "In the Court of the Crimson King" Luckey Roberts and Willie Smith "Harlem Piano" How's that for "eclectic"? Listening to recent acquisitions: Tyrone Washington "Natural Essence" James Blood Ulmer "Tales of Captain Black" (those two courtesy of Rooster Tom...thank you my friend) Ben Allison "Riding the Nuclear Tiger" and "Peace Pipe" Bud Powell "The Scene Changes" Michel Camilo "Live at the Blue Note" Kenny Werner and the Brussells Jazz Orchestra "Naked in the Cosmos" Head full. Must sleep now. -_-

My Assistant went out for a smoke and never came back. :rsly:

Thanks for the suggestions, everyone. Looks like I'll be picking up some books and tools <imagine Tim Allen gorilla sound here>. I always get a woody* when I go into Home Depot or Lowe's, now I'll be able to get something other than grill accessories or light bulbs. Hulk like buy reciprocating saw........Hulk getting sleepy....... Rooster, if your only contribution is to keep supplying me with rare aural treats, that will be just fine. * and not Shaw or Herman, either!

As a first-time homeowner I'm beginning to realize that I need to expand and nurture my fix-it skills. After writing checks to the parade of plumbers, electricians, etc. that have been coming by (and seeing how simple some of the repairs have been), I can see that I need to acquire some chops in this area. My request that I put out to those of you who are homeowners, or just have skills in this area, is what would you recommend that I check out as far as DIY guides? Something like the Time-Life series? Is there something better? What basic tools (beyond the usual screwdrivers, hammers, drills) should I possess? Our new home is in pretty good shape, and I'm not talking about major repairs, but more like things such as retiling a bathroom and shower, basic maintenance and repair, etc. I'm reasonably "handy" but feel that I have much to learn in this new area. Thank you in advance for your suggestions! EDIT: I know I can find a DIY site, but I thought I'd start with the board members, whose knowledge seemingly knows no bounds!

Just picked this one up and am listening to it as I write. Great writing by Werner, great playing by the BJO and a very nice sounding recording. Werner's compositions are very engaging and get to the point without a lot of the meandering self-indulgence that a lot of writers seem to get caught up in. Some nice blowing sections to offset the ensemble parts. At times he creates a film-noire like atmosphere, not unlike some of the moments on Belden's "Black Dahlia". Good soloists in the BJO, too- a very professional and musical group. This one snuck up on me- I hadn't heard anything about it. If you like Maria's or McNeeley's writing, you'll enjoy this.

Yeah, on his tunes the syrup's REALLY baked in. Don'tcha know.

Wow, with all those baked beans in there I guess you'd never know if he.....well.....you know.......

I really think that, especially with younger people, that we are dealing with a decreasing attention span as well as competing with instant gratification. Other than those who "get it", most people get bored listening to instrumental music, whether it's a symphony or a jazz trio. They often seem to prefer the involvement of a singer so at least there's an understandable language to relate to. It's the same with students- many don't want to put in the long hours required to learn an instrument. I notice it all the time when teaching or doing clinics- you talk for awhile and then become very aware of a general "tuning out" of the students- they just kind of glaze over like a deer in the headlights. Usually I'll try to mix up the talking with playing demonstrations, or try to find a way to keep them involved in some way, but you end up feeling more like an entertainer than an educator or artist. I taught a 300 student jazz history class once- you know, one of those general ed "cash cows" for the music department. Man, don't think THAT was easy- I really tried to find ways to keep it interesting and not just a dry lecture class. I felt my responsibility was not only to get them to regurgitate facts, but also to try to nurture a future jazz audience. I used in-class performances, videos, had them do concert reviews (I wish I'd saved some of THOSE!), everything but juggle. It's hard and frustrating and sometimes I feel like saying "if you're so bored and uninterested then what the f*#@ are you doing here?"

I can't believe Rooster hasn't posted here! I know he'd recommend this one too, with the reservation that the recording quality isn't great, but it contains some great music. Brilliant Circles w/Woody Shaw (!) Tyrone Washington (!) Bobby Hutcherson, Reggie Workman and Joe Chambers. NYC, Sept. 1969. Needless to say, it does not suck! I don't know of its availability, however.

What is that, like a contrabass flute? I'll bet it sounded great.

Just buy everything you see as soon as you see it for the rest of your life. Amen.

Yes, it's Bill Evans' music. Lees wrote the lyrics.

I think it is the nature of Maria's writing that is ultimately responsible for what you perceive as a lacking performance, DrJ. I'm not saying it's a flaw, just a different concept. Let me preface my comments by saying that Maria is a friend of mine, as are many of the players she regularly uses. I have nothing but praise for these musicians, and I really enjoy Maria's writing. I think Maria's approach to the big band (OK, "jazz orchestra") is very fresh and different which is why she's been getting so much attention. Of course, being an attractive female in a male-dominated medium helps, but in the end it's the quality of the music that's foremost, IMHO. I think there is a tension created in Maria's music that comes from a feeling of "holding back"- there are few explosive moments in her compositions (in the more typical big band sense), and they are few and far between. There is also not much out-and-out swing. I'm aware that this departure from the "norm" is precisely what attracts many to her music. I know that most of the players who are regulars are very supportive of her; OTOH, I have also heard many voice frustration with the lack of "high energy" let-it-all-out moments, which often leave them feeling unsatisfied. Maria used to be married to John Fedchock- they had a big band together for a while. If you've heard any of John's big band recordings, you know that he writes in a very contrasting style to Maria- he comes more out of the traditional big band styles of writers like Thad. Many of the players from that band still play gigs with both John and Maria's current groups. It was interesting to hear John's and Maria's charts back to back- the styles were so contrary that the band acquired a schizophrenic quality. The same players would roar on John's stuff and then turn around and nail Maria's more introspective music, but they were playing their asses off all the time (in the appropriate style) regardless of whose music was being played. You would have thought that this contrast would have made for interesting sets, but the end result was that the band was lacking in a definable identity. This concept of multiple writers worked for Woody's band, Buddy's, Maynard's etc. but it didn't work here. Just as it probably wouldn't have worked for someone like Toshiko Akiyoshi or Bill Holman, to name a couple. I know both John and Maria are very meticulous leaders and communicate their desires to their players very articulately. I think what you hear on Maria's recordings is exactly what she wants you to hear. If the players weren't making it, she'd have made changes, which she has done over the years. She knows what she wants!

Amen, DrJ! I heard Joe at the VV with Al Foster and Ron Carter in the 80s. No mic and he didn't sound weak or wimpy. He totally kicked ass, and I went back for more the next night. Don't tell me he can't blow- it may not have been loud, but it was clear he was IN CHARGE. Bird, Bud, Dizzy, Monk, Tatum- they all had a repertoire of favorite phrases (I don't like the word "licks"- I tend to use it as a derogative description). Carl Fontana's musical vocabulary certainly didn't expand much after a point, but I could listen to him anytime- because of his SOUND and SOUL. The vocabulary is part of the personality. What I like about Joe is not that he surprises me (most of the time) but that he make me smile when I listen to him. He may have a "bag of tricks" to draw from (albeit a BIG one) but he assembles his words, sentences and paragraphs in a way that seldom fails to gain and hold my interest. Joe's one of those players whose presence on any recording will usually influence my decision to buy a side, as does Woody Shaw. Rooster, I agree that Wayne is the composition king (of just about everyone, IHMO). Rich Perry is another heavily influenced by JH but has managed to step out from Joe's shadow. BTW, DrJ, you have a real cute little avatar dude there.