Brandon Burke

The Milano show was released as The Unprecedented Music of Ornette Coleman. I reviewed that for AMG. It's really great.

For whatever reason, original ESP pressings (emphasis on the plural there) of Town Hall seldom go for very much money. I imagine you could probabaly score one for close to the same price as the CD.

No shit. I actually listen to that record as though it weren't a comedy album. I really like it.

Thinking about this again, I remember David, Moffett, and Ornette including at least one piece in its entirety; a tune that sounds remarkably similar to "Sadness". In fact, I'd be willing to bet that it is "Sadness". Same bowed Izenzon line throughout and Ornette's head sounds the same as well. I definitely like this version better than the Town Hall or London Concert takes. I'm sure that segment of my VHS copy is dangerously close to being worn out. B-) [EDIT: Okay. It apparently is "Sadness". Dig this quote from Martin Williams, "There is a memorable performance of Ornette's 'Sadness' (complete and uninterrupted from David Izenzon's bowed introduction to the end!) during which Fontaine quickly cuts away from images of the musicians responding to the movie screen to concentrate his cameras directly on the players' serious, passionate involvement with their improvisations. It is one of the best filmed jazz performances I have ever seen."]

Okay. You're right. Schonberg's post-Transfigured Night work is very obviously dissonant...atonal...whatever. I was simply trying to make a point regarding the use of the word "atonal". I think that too often it gets used in relation to the 12-tone row when, (again) as I understand it, the 12-tone row was developed as a method of composing progressions, not harmonies (e.g. the organization of multiple tones at any one given moment). You see what I'm saying...?

"Un-concho" is hilarious. I love ever-so-slighly manipulated pronunciations like that. Just to make something rhyme. Reminds me of the time Jonathan Richman rhymed "laundry pile" with "card [tay-bile]".

Hmmm... I was always under the impression that atonality could describe a single chord (and by this I mean an organization of tones existing at any one time) and not a progression. When I think of Schonberg I don't necessarily think of atonality. I think of a lack of resolution on the part of his compositions. Ives and Ruggles, after all, were atonal way before Schonberg. Schonberg, instead, introduced the deliberate avoidance of resolution. That's my understanding of it, anyway. Of course, there's no shortage of holes in my understanding of Western concert music so.....

Yeah, it's a pretty sad story actually. Dude got taken advantage of bigtime. Basically a travelling freakshow (with merch).

The Fall finished a very close second. B-)

I have only heard this music in the context of the film David, Moffett, and Ornette but like it very much indeed.

A situation very telling of the personality in question. And not good or bad, necessarily. Just telling. I love those records.

Roland Kirk plays bass recorder while walking around the zoo in the film Sound?.

Okay. I just read Maren's post. So there you go.....

Don't know. But I'm not particularly well informed regarding lactose intollerance so the answer could be (and probably is) really obvious. Oh well...

Slightly off-topic but isn't lactose intollerance simply an alergy? I have always found it very interesting that, in the case of lactose, we bother to claim an "intollerance" wheras if it were nearly anything else (hops, shellfish, etc) we would simply be "allergic". Anyway.....

fair enough....

Strange that Contrasts was ever issued in mono.

There's a great book about the black metal scene called Lords of Chaos. I don't even like the stuff but it was a fascinating read. Those dudes aren't kidding at all.

I'll have to check the liners when I get home, I didn't realize it was a cover. That's my favorite track on the cd, along with "Change Is Gonna Come." I'm pretty certain that "Hard Times" is a Curtis Mayfield song. Baby Huey's version has been sampled a number of times.... Alkaholiks’s “Soda Pop” A Tribe Called Quest’s “Can I Kick It?” Biz Markie’s “The Dragon” Black Moon’s “Powaful Impak!” Chemical Brothers’s “Playground for a Wedgeless Firm” Chill Rob G’s “Ride the Rhythm” Diamond D’s “Red Light, Green Light” Ice Cube’s “The Birth” Ghostface Killah’s “Buck 50” Kwest the Madd Ladd’s “125 Pennies for Your Thoughts” Naughty By Nature’s “Connections” People Under the Stairs’s “Fredly Advice” Saafir’s “Joint Custody” Skoolbeats’s “Hard Times” Super Cat’s “Ghetto Red Hot” Yaggfu Front’s “Slappin' Suckas Silly” Young Black Teenagers’s “Sweatin' Me”

Yeah, that Baby Huey stuff is great. Esp his cover of "Hard Times".

I actually like the Jamaican soul singers at least as much as their Amercian counterparts. Perhaps not surprisingly, there is something of a one-to-one correspondence between the two. Delroy Wilson and Ken Boothe in particular emulated the gravely Memphis sound of guys like Otis, Wilson Picket, and Rufus Thomas. Slim Smith was smoother and more innocent sounding. Like, say, Brenton Wood. Alton Ellis was basically the Jamaican Marvin Gaye. While Carlton & the Shoes sounded remarkably like the Impressions. The rocksteady period was basically the US soul sound, informed by a uniquely Jamaican sense of rhythm and harmony. Amazing stuff.

There's a long history of that connection.

Verve picked those up?! That's very surprising. I suppose this means that we're either going to see The Sounds of Free Amercia comps at Starbucks or somebody's getting fired. Either way, I'm happy so see that these will be available in the States.

He also appears in the Nancy Sinatra ski bunny flick Get Yourself a College Girl (1964) along with Astrud Gilberto and Stan Getz.