papsrus

What a fantastic idea. There is a festival in Scotland devoted to this sort of thing, I believe. This says it all:

Curiously, in my own listening habits (and I suppose this is quite common) I enjoy purposefully bouncing around different kinds of music. Not a particularly broad palate, I suppose, as it's almost entirely jazz and related creative musics, and lately blues. But within jazz, I certainly veer off in one direction, then another -- for example from Ellington to the Schlippenbach Trio to Chet Baker, back to Basie and off to Braxton, etc. This enhances my appreciation for each of these different kinds of musics. They each sound fresh when set against the others. I would find a more predictable approach unsatisfying, I think. ... Something like that ...

Haven't read through the entire thread, but has anyone BBQ'd lobster tails? ... Wrap them in foil with some butter, maybe some lemon juice or whatever else you want for flavor, and cook 'em shell down. Here's a recipe.

Listening to the Complete Robert Johnson, decided to head over to amazon to pick up some Son House discs:

I'll eat dirt, but only if it's fresh.

Most of you folks are up before me. Usually it's to sleep between 1 a.m. and 2 a.m. and then up between 8 a.m. and 8:30 a.m. ... So I guess I'm a bit of a night owl and somewhat of an early riser too. (It's true, I think, that the older you get the less sleep you need -- until you're ancient, perhaps. Then, mostly sleep??) I have noticed that sometimes the time stamp on my posts isn't correct, and can be off by several hours. There seems to be no logic to the discrepancy (although I haven't paid that close attention ... just noticed it was off sometimes). EDIT: For instance, I posted this at 6:10 Eastern time but the time stamp says 5:10. Maybe my settings are off, but I don't think so.

You'll never regret it. Happy listening! Yeah, thanks. I'm really looking forward to this one (I've said that every time I order a Mosiac, I think). Snagged today at the local new/used CD shop here: Jimmy Lunceford and His Orchestra: 1930 - 1934 (Chronological Classics) ...... and, and, and .... Loading the Robert Johnson to the hard drive now as I spin the Lunceford (which I snagged based solely on the label, knowing zero about him. Enjoying it right now).

Going to see Branford Marsalis tonight (in a couple of hours). Nice seat, too -- Row 9, in the center seating but just off to one side a bit. Should be good. Post-concert EDIT: Well ... that was interesting. Half the band didn't show up because of weather up north and canceled flights. So, it was Marsalis and Joey Calderazzo in a sax-piano duo. Billy Taylor was in the audience and sat in for a couple of numbers as well. So that was a treat. Marsalis and Cadlerazzo played two beautiful tunes ("Hope" and "Eternal") with Marsalis on soprano sax. Gorgeous. And Marsalis played wonderfully on tenor on tunes such as "Monk's Dream" and "Love is Here to Stay." Lots of interesting interplay and improvisation. But ... I found Calderazzo's playing to be a little dense for a duet setting. He displayed a gentle touch on "Hope," but otherwise wasn't leaving much space in his playing. This was brought into sharp relief when Taylor sat in at the piano. He had a much more nuanced touch, I thought, that worked better in duets. And while Marsalis' playing was solid throughout, he didn't exactly break a sweat. And he gave a lot of solo space to Calderazzo -- a bit too much, IMO. All in all, the whole thing had kind of a casual, playing-around-in-the-studio feel to it, which is fine. And the audience pretty much loved it. But in the end, I would have preferred to listen to the quartet.

I still think it comes down to the difference between "studying" the music and simply "listening" to the music on its own terms. And this is not to put a relative value on either, nor to deny that there is a physical aspect to playing (and studying) music that enhances your own experience, as you describe. You could conduct a little experiment for yourself by listening to a piece of music that you are intimately familiar with. How do you listen and react to it? Then put on a piece of music you have no familiarity with at all -- it might be a piece of classical music or free jazz, something you have no idea how to play. Gauge your response to that. How do the two listening experience compare?

Put in an order for The Complete H.R.S Sessions Mosaic.

Analysis has its place, but hey... I like to enjoy music, too. I think the analytical thing can be switched on or off (at least, I know that that's true for me), and I think (again) that there's a bit of a false dichotomy being set up here, re. musicians vs. non-musicians. Our brains are processing what we listen to, sometimes in very analytical ways, regardless of whether we've got formal training in music or not. We can all recognize pitches and intervals and many, many other elements of music. To say that people who aren't musicians *cannot* hear subtleties in music is (to my mind) a lot like saying that only painters can recognize red, blue, yellow... right down the line. We might not be conscious of the fact that our brains are, in fact, organizing and evaluating what we hear, but the processes go on nonetheless. I've seen adults who swear they can't play a note be able to pull off highly complex rhythmic patterns *if* those things are presented in a way that doesn't look like theory or notation. (following the stresses and weak beats in a nonsense rhyme, for example.) If you were to tell these folks what time signature they're playing in (or whatever), I think they'd freeze like the proverbial deer in the headlights. It's not a matter of tricking people in this case, but of using avenues that seem less charged - and less associated with some sort of professional competence. So all of you attentive, thoughtful listeners out there had better stop going on about how your perceptions must be somehow innately less insightful than those of so-called "professionals." 'Cause I think you're all wrong about that - of course, who the heck am I to act like some kind of authority, eh?! Well put. ... And I would guess many people here are musicians of one level or another anyways. Play a little guitar, piano, sax or trumpet ... or took music lessons at some point. ... Not to say we're all musicians of course, but rather have some familiarity with written music and an instrument or two. So it's not as if it's a completely foreign concept. ... As usual, a lot of mixing around the edges.

As someone who landed here recently, let me just add my gratitude and birthday wishes. I've already learned a great deal here, and been turned on to some mighty fine music. Thanks for the great space. ....

Yeah, each probably has its advantages and disadvantages. The musician hears music and may reflexively begin to dissect and analyze it as he or she is listening, whereas the listener with little or no formal knowledge of music may hear a piece of music in a more pure or unfiltered form, tapping into its emotional impact, for instance, without being distracted by counting the bars (or whatever). Not to say a musician wouldn't tap into this as well, but just through a different path.

Reviving this old thread as I just received the Chu Berry Classics 1937 - 1941 disc. (These Chronological Classics discs seem to be available through Caimen sometimes for quite a bit less than elsewhere, btw.) This disc apparently collects all his recorded material as a leader, which isn't a whole lot, it seems. Four separate bands represented here. Sound quality is perfectly acceptable, to my ear (the high end seems to be dampened down a bit, but not bad). And the music is wonderful. Berry comes through loud a clear. ... Should add, this is my first foray into Chu Berry's music. I'd have no trouble recommending this compilation.

I can vouch for that. Thanks. I'm looking at the Mosaic now. I don't know the answer to Paul's original question about the material on the Rex Stewart disc I ordered, I'm afraid. A cut from that Ellingtonians album was featured on the BBC program -- "Cherry," I believe. Sensational tune. The HRS does look inviting. EDIT: On order. Thanks so much for pointing this one out. Very excited!

You know I agree with this. It is the points where these different regional musics collide, as you say, that some of the more fascinating musics emerge. Dave Douglas' Tiny Bell Trio draws upon Eastern European influences. Some of guitarist Brad Shepik's discs as a leader look to the Balkans and Turkish musics for inspiration. Or Peter Epstein's "Esquina" with Portuguese pianist Joao Paulo. Texier's African adventures. The list is long. And yes, this all demonstrates a strength in the music today, not a fragmentation, in my view. That creative improvised music can adapt itself to and absorb such a broad range of musics is a wonderful thing. Excellent examples! And I tend to think, although I don't have any empirical evidence to back up the assertion, that more young people these days are being affected by this cross-cultural absorption than we give them credit for. Yes, no empirical evidence, but don't the jam band scene and the folk revivalist thing that is happening now overlap somewhat with creative improvised music? These two genres are very much in the forefront of youth music today, I think. ...

You know I agree with this. It is the points where these different regional musics collide, as you say, that some of the more fascinating musics emerge. Dave Douglas' Tiny Bell Trio draws upon Eastern European influences. Some of guitarist Brad Shepik's discs as a leader look to the Balkans and Turkish musics for inspiration. Or Peter Epstein's "Esquina" with Portuguese pianist Joao Paulo. Texier's African adventures. The list is long. And yes, this all demonstrates a strength in the music today, not a fragmentation, in my view. That creative improvised music can adapt itself to and absorb such a broad range of musics is a wonderful thing.

Nice meaty discussion. Really enjoyed the insights into Rex Stewart's technique and sound. Prompted after listening to the program to go ahead and pick up a copy of Vol. 2 of the Small Groups. ... and then this ... "Rex Stewart and the Ellingtonians"

Two words: Russian tennis .... (game, set, match)

I agree with this wholeheartedly, and I think your list proves the point. I'd add alto player Matana Roberts (I'm going on endlessly about her lately), an AACM alum with a unique voice who is forging her own path while at the same time mining traditions that range from the blues to her own African heritage. While not a strictly unique path, it is certainly one that is rich with possibilities. Those who lament what they see as the neoclassical dead-ends in the music today may be looking in the wrong places.

After listening to a newly arrived quartet disc by Hall, pulled the trigger on this one, which features Hall in both quartet and sextet settings with the likes of Milt Hinton and Vic Dickerson: I know nothing about this reissue label -- Mighty Quinn -- but they are said to have high production values.

Myra Melford is at the top of my list of pianists. Marylin Crispell isn't far behind. So, my two favorite pianists are women. Neither is a singer. I'm listening lately to alto player Matana Roberts as well. It is worthy noting that all three of these players operate on the outer fringes somewhat -- more free players than straight ahead certainly. Someone mentioned earlier that the European free improv scene was more welcoming to women than straight ahead jazz. Maybe there's something to that. ... I know nothing about Norah Jones, I'm afraid.

Not that there's anything wrong with it, yada, yada, but ... you'd think a bunch of baseball players would realize that this was going to come off as the Village People. There's no getting around matching silk jackets and tight, white pants in an all-male group dance, is there?

I didn't make it very far in, but that was awful. ... damn.

You're too balanced by half MG Hah! ... You might be onto something there.