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gdogus
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Posts posted by gdogus
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Their official website indicates that they're "under the direction" of Marshall Allen, who's certainly been with the Arkestra a long time.
http://www.elrarecords.com/1-index.html
The music played on the website sounds more conventional than I would have expected.
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The Sun Ra Arkestra will perform as part of Chattanooga's Nightfall series, a free concert program sponsored by the city's downtown partnership.
Though I've never really been able to get into Sun Ra, I'll definitely be attending; live jazz is such a rarity in these parts, and it's free, after all. But I'm wondering what to expect out of the band - that is, what they're up to lately in a live setting. Any help?
One thing I expect is that the regular Nightfall concert crowd will experience a collective WTF?! moment.
I'm pretty sure most have no idea what's coming their way.
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HEY I HAVE AN IDEA! I SHOULD CHECK HANK AND MAIL IT IN TO PLAYBOY, 45 YEARS TOO LATE. MAYBE HANK WAS ONE VOTE AWAY FROM WINNING AND ONCE THEY RECEIVE MY VOTE THEY CAN DECLARE HANK THE WINNER!!!!! OH HELL YEAH
Why are you yelling at us?
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My dear wife bought me a CD Player for my birthday in 1986, and two CDs to go with it:
Pink Floyd - Dark Side of the Moon
Talking Heads - Stop Making Sense
I remember very clearly being astonished at the sound quality. I still own both discs.
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I'd agree that Red Clay, Straight Life, and First Light, are all certainly worth a listen. I haven't heard the others.
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I don't want to hear her sing, but I'd like to hear her scream...
Ugh. I'm guessing that, so far, the posters in this thread don't have young daughters.
Best just leave it alone, y'know?
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Mine is...
<--- "Blues for Allah" - Grateful Dead cover design (by Phillip Garris)
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His seven wouldn't be my seven - though a couple would be on mine - but if some non-jazz listeners pick up a few of the sides he recommended, they'll have some great music to listen to and, who knows, perhaps some new jazz fans will come into existence. To me, that's the positive side of something like this.
Precisely, Paul. Well said.
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An alternative is to try using Rain-X (the glass treatment stuff):
A friend told me about this years ago, and it's actually saved some scratched CDs for me. Just follow the instructions, as if you were rain proofing your windshield.
Not kidding.
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He is really a trip, and that rarest of rare birds, a true original.
His whole group, not just him, was conversing on a level of trust and listening that's hard to describe. And he set the tone. I can't really say much more, but if you ever get a chance to catch him live, do. It'll be nothing less than interesting. It also might just blow your mind like it did mine.
What kind of group is he working with? What tunes did he perform? Where did you see him?
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Yup.
I kinda dig the suit, though.
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Anyone hear the rumor that Grateful Dead Productions is going belly up?? Supposedly, Rhino is going to be taking over Vault.
So maybe that Fillmore box isn't so limited after all?
I hope?
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eh.
Give me the next in the Batman Begins sequence.
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I am sorry but I have to post at least 300 stupid things, I mean 'more stupid' then the previous one, to achieve my status of GROOVE MERCHANT again.
ain't nothin'.
nope.
see? we can get this done in no time.
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I am sorry but I have to post at least 300 stupid things, I mean 'more stupid' then the previous one, to achieve my status of GROOVE MERCHANT again.
ain't nothin'.
nope.
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I'm gonna pass, though not from any sense of righteous indignation. I just have no desire to see the film.
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I remember being interested in her back in the early 80s as somebody "with potential". Her evolution took her out of my sphere of immediate interest, but what I've heard from her since has always had the highest integrety.
She actually did two sides for Columbia, remember? Not sure that that was a good fit, but "More Than Sinatra" from Modern Drama was/is a classic bit of very dry musical wit. And truthfully, it was the overall lack of some "sense of humor" in most of her work back then that caused me to stop following her. I should probably get back into her, because I know she can play, and I have the highest respect for her. It just seemed back then that her music didn't have too many "smiles" in it. Not that it has to be "happy" or anything like that, not at all. It just seemed a little too overtly "serious" for its own good, if you know what I mean.
But I should probably reinvestigate.
I can understand what you mean, but find there's a lot of dry wit in the recordings I mentioned above. "Monk's Rec Room," "It's a Corrugated World," and "Einstein's Red/Blue Universe," from The Red Quartets, have it, for sure. Abstract, yes, but always full of possibilities, and often playful ones.
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Does anybody have her latest, Like Silver, Like Song (2005)? It was released via Artist Share, and comes in some interesting configurations (pricey, too). What do you think?
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I've been digging this uniquely gifted soprano saxophinist/composer lately, especially on:
Art and Aviation (1992)
Nearness (1995)
The Red Quartets (1999)
Sometimes the Magic (2001)
Chasing Paint (2003)
I find the latter three especially absorbing. The Red Quartets and Chasing Paint feature the same quartet, with Fred Hersch (piano) Mark Dresser (bass) and Bobby Previte (drums). Sometimes the Magic features pianist Vincent Bourgeyx instead of Hersch.
But the first two are way more than worthwhile too, with trumpeter Kenny Wheeler and bassist Rufus Reid. (Fred Hersch and Bobby Previte also appear on Nearness.)
Bloom's compositions are abstract, creative, and involving. Her use of "live electronics" (whatever that means) are subtle, and provide some useful colorations. This is great stuff, I think, on a par with much of the ECM aesthetic, or the wonderfully original Jazz Composers Collective material coming from Ben Allison, Frank Kimbrough, Matt Wilson, Ted Nash, and Ron Horton (who appears on Bloom's Art and Aviation).
What do you all think of Bloom's work?
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If anyone's interested, 80+ albums from this series are available for download at eMusic.com...
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I'm doing fine. Really.
I think I found the story (well, my wife did): "The Man Who Lived Underground," by Richard Wright.
Well, good. I actually like Wright's stuff a lot - just never ran across that one.
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(Hey! My old posts are linked up.)
For the aforementioned reservations--I think a lot of it has to do with the edits--some of which are startlingly prominent (especially on the first cut). This sort of music demands extended treatment, although temporal restrictions kind of prevent things from simmering... and it's all very high energy. As a result, there isn't a lot of breathing space--it's consistently explosive (in contrast to, say 'Point of Departure'--which has those quiet moments). The 'compressed' quality of the sound doesn't exactly lighten things up, either. But that's the album's charm, in way... it's a lot more ragged, brutal, and 'rough' than your 'average' inside/outside Blue Note album (for example). What it does have, however, is passion to burn.
Yes - somebody in the older thread (linked in the first post of this one) commented on the sound of the "room" in which this album was recorded, as if the mics weren't quite right, and I can understand that. And the album does have it's own sound, for sure.
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Some 10 years ago, a former girlfriend asked me to help her interpret a short story she had to read for a class. I'd really like to read the story again, but I can't remember the author or the title. It's an existentialist story, and the only thing I can remember is that the protagonist is in a tunnel or sewer beneath a city, and at one point in the story, watches some church or religious ceremony and feels anger or resentment towards the people and what they're doing. That's about all I can remember. Can anyone help me find this story?
Don't know the story, but damn, man - are you okay? This sounds like a call for help if I've ever heard one.
the liberated genius of Keith Jarrett
in Miscellaneous Music
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