clifford_thornton

That makes sense - I wouldn't think Crouch, Rivers and Chadbourne would be in the same room in any other context than a loft gig.

Well, yes, of course - but in terms of audiences actually getting a jazz record and thinking they were getting one, I guess that was my point. But then you're right, it is sort of like comparing steak and oranges...

Hamiet Bluiett's euphemism for Ornette and Don (and Bird and Dizzy) was "like two dogs barking." Whenever he heard "two dogs barking," it meant something good was happening in the music.

A lot of people do coke, some even into older age. Marion Brown was on it in the '80s and '90s, which contributed to some of his health problems. Frank Wright is rumored to have died as a result of a coke-induced heart attack. There are also those people who use it for a while and then kick after it's served its purpose, so there ya go.

Yeah, too bad Grimes isn't doing any straight-ahead gigs. Maybe it's something to do with the green bass juju...

So chris o, a question: don't you think G moves units to those who would have been into Stan Getz or the Three Sounds? I may be wrong about that line of thinking, but it makes sense to me. I mean, I hear your point, but good jazz records have been "easy listening" in the past. Then again, I list Cecil Taylor's Nefertiti as among my favorite bebop records, so what do I know about "mainstream" tastes...

Didn't he play french horn on Birth of the Cool? I don't know - I don't have a ref copy of BOTC at the moment. He caught some shit for playing with Shepp, and Shepp for hiring him, in the late '60s. Those were the days...

Almost everybody I write for does the same sort of stuff. It's pretty common practice to be "edited" and that the "editor" hopes the "writer" won't notice small changes. Or, for that matter, half an article cut and doussun'gnoui referred to as "Turkish." However, I can see why they added that qualifier to "New Thing." That's an odd phrase and hard to use in any context other than profoundly historical.

That's a great interview, Brandon (and brownie!)... I would love to have been at some of those events, as I'm sure all of us on this board would!

Zwerin's article is pretty heavy - maybe downright "mean" - but major food for thought. I wonder if he still plays trombone? He's solid on The Magic of Ju-Ju and that Bob Pozar record. Admittedly, I've never really sat down and thought about Kenny G or any of his associates - I just don't give a shit. But then as Jim said, smooth jazz can be accused of having stolen the audience that previously might have turned on to mainstream jazz fare. So things like that may be fighting words on our end...

And you know what Sam Rivers's wallet looks like: Bad Mutha Fucka!

Wish I could be there to see it! C

Strangely, that's one of my favorite Ornettes. There is a real strong Ayler connection there, in how Ornette puts his phrases together on that horn, and how Albert approached it on his first few sides.

This is ironic: "Crouch is a fierce critic of gangsta rap music, primarily its promotion of violence..." Should I believe all these fighting stories, or not? Wikipedia is not always the most reliable source.

I doubt anybody could pull off an illegitimate "new" Ornette recording at this point... but who's the band?

Beautiful stuff, thanks for posting that!

Sunny Murray - s/t - (Shandar original) amazing concert recording from '68, with Tusques, Guerin, Terroade, Portal, Vitet, Ambrose Jackson and poetry by Hart Leroy Bibbs (who acted in the first scene of Round Midnight, with Dexter Gordon). Similar band recorded for Pathe a few months later (Big Chief), another beautiful session commingling American and French players.

Well, she was smart enough to use Kurt for her own ascendancy, so why not? Pretty interesting article; I'll delve into it more when I have time.

Yeah, I drive around listening to stuff like that anyway, so it's a good way for them to get to know me!

They're regulars in Chicago - I think they always play two dates there, which is where I've seen them before. Particularly good was the Hot House gig, where I sat behind and to the right of Misha's piano. Pretty nice spot!

Oh! My Dog! is also quite good. I have a number of their 70s releases also and it's really a shame that more of that material isn't on CD.

Agreed. They have a similar quality of light-yet-earthy lyricism... Finally found the moving box where it (and a lot of other hardbop) was packed, too!

I've been dating somebody here in Austin about two weeks, so I'm not really sure how to play it - nothing serious, but we *are* going out on Tuesday. I think dinner and a movie or something mellow... Shit, she already passed the "Frank Wright in the car" test so this could be something...

Tina Brooks - True Blue - (BN King stereo) no slouches here!

I don't know that record, but now would like to! The band looks heavy...