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Uncle Skid

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Posts posted by Uncle Skid

  1. With the upcoming release of Mosaic's "Complete Arista Recordings" box, I thought it might be useful to republish those LPs' original liner notes (which will not be included with the box), as well as some previously-published writings about these albums by Ran Blake, John Corbett, Art Lange, & John Litweiler.

    I've made these texts available in two forms:

    from within my Braxton discography:

    http://www.restructures.net/BraxDisco/BraxDisco.htm

    and as iPaper:

    http://tinyurl.com/Arista

    Thank you very much for posting all of this, Jason!!!

    For those of us that don't have the original vinyl, this is a most welcome addition/supplement to the Mosaic booklet.

  2. This was the original title of the DVD:

    When an artist feels so secure about their own music despite having the neediest fan base on the planet that they allow themselves to cast certain conventions like proper grammar and run-on sentences to the wind like the breeze that blew through my hair on a morning when you said we were true but deep down you were only thinking of you and her and him and me and baby makes three of a kind of blue feeling I had when you said something about how I'm always going on and on and on and on and on but never really stopping to think or breathe or touch or taste or smell or live like we used to do before your heart became black like the darkest night without a dream to my name that we used to believe we would share and share was what we did before we stopped sharing our dreams and feelings and nothing more than feelings would bring us so close to you my superstar my dream my love goodbye my love to love you baby you're a rich fag achoo! Gezhundheit!

    YOU TRYIN' TO BE FUNNY, AL??? :rmad:

    I should come down to Texas to kick your ass for making fun of my favorite artist/singer.

    "neediest fan base": DAMN RIGHT! Just because we NEED to have her beautiful voice and profound lyrics in our life doesn't mean you can make fun of it. If you had a soul, maybe you would be able to grasp the depth of her talent. Obviously, this is not the case.

    "wind like the breeze that blew through my hair on a morning": yes, her music touches me like a cool morning breeze, blowing new life into my mundane existence.

    "your heart became black like the darkest night": talking about yourself there, pal? A world without Tori's music is very dark, of that I'm sure.

    "my superstar my dream my love": I once had a dream that I was a Bösendorfer piano bench, on tour with Tori. Since you are too busy living a life of mockery, you probably aren't aware of the raw love and sexual energy she bestows on it while playing.

    Gezhundheit yourself, motherfucker.

    :crazy::P:w

  3. Thanks for posting this, ghost -- I enjoyed reading it. This will be a nice "supplement" to the published notes.

    At the risk of being busted by the political thread police, this passage struck me as relevant to Chuck's earlier post:

    We’re on the eve of the complete fall of Western ideas and life values. We’re in the process of developing more meaningful values, and our music is a direct expression of this...

    --Anthony Braxton (from Three Compositions of New Jazz liner notes, 1968)

    The passing allusion to the American political landscape (Nixon/Ford to Carter/Mondale to Reagan/Bush) is a fertile one to mine for a summary assessment here. I look back on the period that produced the Arista recordings as an ascent of something like a political vision and party I approved of to take—democratically, by popular vote— the reins of state away from a regime I disdained, to then (all too soon and sadly) lose office again to the old guard renewed.

    I guess we better not discuss this any further outside of the "prescribed forum". :rolleyes:

  4. Whitehead's review is now available online. I listened to it earlier this morning, and between this thread and that review, my interest was piqued.

    Downloaded "Dying Will Be Easy" from EMusic, and the first spin has lived up to my expectations. From Patrick Jarenwattananon's review: "liberal mixing of musical metaphors", "exuberant and relevant improvised music"... fitting descriptions.

    In fact, this band reminds me a little of Reptet: "blaring horns and snare-drum rolls render the exotica of a slow Spanish march into a loud, blown-out stampede" could be just as easily be applied to "Reptet Score!" from their Chicken or Beef? record. I also hear similarities in the creative percussion and arrangements of both groups, and the soaring trumpet on "November 25th" and Reptet's "eltiT".

    I really like this record. Like Reptet, they don't seem to shackled with artificial notions of what is and is not "appropriate" in a "jazz" group -- I hear a lot of individual creativity, plus a certain group cohesiveness that keeps it all together without being predictable.

    Would love to see these guys live sometime!

  5. I'd be interested in knowing if Wynton has read your liner notes to "New Tango '92" and "Mental Strain at Dawn", and if so, what are his thoughts on topics you raised.

    I should say at the outset that this is not meant to be confrontational at all -- I think you raised some very interesting points about owning "the tradition", and the relatively narrow definitions of what is/is not "jazz", and it's fascinating to me how this is still a contested and controversial topic to this day.

  6. I thought that most of the material played that evening was from "Sound Grammar", so I'm also interested in finding out what other recordings were represented.

    As far as "typical", I'll say this: what I heard was not all that different from what I expected, and that should not be construed as a negative comment.

    Thanks for the Vijay links, ejp.

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