jazzbo

Just to clarify, what I said was "Many sessions within the Mosaic are not too different than this Verve cd." That means that I was pointing out that there were also different sessions in the box. So in fact, rather than "Not all of it is as Lon says" I maintain that it IS as I say!

Gentlemen: I want to thank you for sharing your experiences!

J, I guess in thinking harder I can see your point about 'beautifying' the violence. It's really hard to deny that his happening on some level. Also however I see this as part of what fascinates me in his work, truly given even more dazzling treatment here. With this story line the violence is the heartbeat, and to me the characterization reinforces that: all we really know about her is that she was nearly killed, her hope of a family was destroyed as well, and she is exacting revenge with relentless drive and focus. I've never ever been in such a situation, and I am certain that I would not take THIS path. But that too makes this an interesting movie for me: I enjoy seeing how people interact with their realities, and boy is this one that is compelling to see unfold. Perhaps I'm becoming more and more voyeuristic, perhaps as I make my own attemps to piece together stories I am more intrigued by how others do this, but I found this a tale that was riveting. I'm going to have to see it again!

Now that's a great expression! (A great expression which fits many of us here!) I'll agree with the remarks about Ayler being mystical, spiritual. . . I really feel that in the music, the fervant, ecstatic attempt to express the intangible and the universal spirit. . . .

I really enjoy Hill solo recordings. . . perhaps more than with a group to be honest. I like his trio sides too. He's tremendously pianistic. . . he really knows the piano and even with group albums it is mainly his piano I listen to. It's different, and it commands attention. I also have a recording (unofficial) of his with just a bassist that is very interesting.

This is an interesting album. . . I haven't heard it enough to really give to great an impression. I was most reminded of Sun Ra actually, and I like it, and this is a good reminder to pull it out and spin it again soon! I'm always reminded of how good a player Belgrave is whenever i hear him. . . .

I really enjoy this odd masterpiece as well: This is a recording in Paris of Brand and his wife Benjamin produced by Ellington, with Duke and Strays sitting in on piano here and there. Odd, but haunting and beautifully recorded. . . .

Yes, for example here: http://www.amazon.com/exec/obidos/tg/detai...=glance&s=music

Interesting. . . I don't think that it "Aestheticized" violence at all for me. I was cognizant all the time of the violence, and fascinated at the unfolding, and fascinated that I was fascinated with it. Nor was it numbing . . . I twinged and turned away and felt sickened by it. . . but fascinated as well. I'm not flaming at all, I just had a different reaction. I kept wondering WHY this film was so centered in violence, why Tarrantino was so obsessed with it. . . but I thought of my wife when she was very very very angry (and psychotic), and some friends that I have seen very very upset . . . . It's made me think that there are those for whom this is probably a cathartic fantasy. And it's made me think of the administration I now work for, who are using the public's money to hire their friends as employees or contractors, who are demolishing the careers of dedicated workers to bring in sad sacks, who have no compassion or sense of responsibility to mission, and I recognize them in the Lucy Liu character and her roundtable of hoodlum overlords. . . . I think there is plenty of character demonstrated there. . . unsavory character. I'm interested to see the conclusion and a further clarification of the motivation for Black Maamba's revenge. . .but I'm not at all unclear about why she is so obsessed with revenge. Anyway, this movie has made me think. I don't think it was geared to, or that Quentin would have guessed that I would. But it has made me think, and the cinematography impressed me and I am considering seeing it again to further drink in the art of the filming.

Ayler was such an amazing saxophonist! Yes, he was a visionary with a new concept, yes he was so very different from most in his performances, but from the start what I was knocked back reeling from was his astonishing technique on the saxophone, the huge sound, the kaliedoscopic range of his notes all played with confidence and command. When I read comments that he was a primitive player, or didn't know how to play the horn I think "what a crock!" More and more as time goes by his music means more and more to my listening and thinking world. I'm really looking forward to the Revenant, when it is out and when I can afford it. And the Jeff Scwartz piece is a marvelous aid to listening to Ayler; I wish I had more like that, much more, to read. I've heard nearly all the official recordings (still need to get the earliest sessions and The Last Album) and a lot of the unofficial ones. . . . There's so much to explore in all of his work; each time you encounter it it seems to speak to you anew!

Well said, well pointed out. . . but the truth of the matter is that the Armstrong house would be the motivating factor that would make me go to NYC. I've very little traveling money, and I've a limited amount of places I can "choose to go" to with my limited amount of traveling time and money, and NYC is not high on my list. Going to New Orleans, going back to Swaziland, and several other places are above NYC. . . .I can see a trip with my wife to NYC draining my entire bank account! And another reason: I hate metropolises!

Yeah, Jim, I revisited this at your suggestion, and you're right: this would make a nice monster of a Columbia reissue! This stuff is right on. . . !

I agree, if there is a dollar to be made on Miles, Columbia will get to it. I see them soon enough releasing previously only bootleg recordings with the estate's permission. Yes, my last two avatars have been PKD. I'd never seen this photo before; it's pretty cool! Has to be mid-fifties I think.

As far as I know, only in TOCJ cd form. I've never heard this, and have wanted to. At one time I believe it was announced it would appear (about the same time as "African Beat") but it didn't, to my knowledge.

My boss made me read Michael Chricton's "Timeline." It was amusing. . . I haven't read a bestseller in so long it was interesting to see how it was written. Everything was spelled out, fell into place. If only life were like that! Now I'm into more familiar territory with "Beyond the Essene Hypothesis."

I keep thinking about this movie, it has an odd fascination for me, analyzing my personal reaction to it is amusing! I notice it is playing at an independent theater here that I like and wouldn't imagine it playing in. . . . I know I'll be tempted to see it again there.

Many sessions within the Mosaic are not too different than this Verve cd; this format and this style of recording session was a staple of Stitt in the fifties and sixties. If you like this, there are many hours like it in the Mosaic.

How about right hand, left foot?

John Patton UNDERSTANDING

Hmmm. . .maybe having "Soul Man" on the back of the lp as a song title sold an additional 237 units?

Richard Williams makes a good frontline partner for Booker on "The Inbetweener".

I'd probably pick "Accent on the Blues" too, but "Understanding" is a real gem. . . . No real reason to have to have just one (or five!)

I wholeheartedly recommend the Plugged Nickel box! Yes indeed. I also love the Blackhawk material. . . always have. . . one of my first tastes of acoustic Miles Davis after my initial drowning in electric Miles; Wynton Kelly impressed me then and still impresses me.

French Import ban? OH NO! I hope that doesn't last long! The Japanese reissue of last year or so is fantastic; the best sound I've heard yet, and complete. Doesn't have a few of the photos in the earlier Fontana release, but that is its only real fault. . . . superb sound.

Really can't be of any help. . . I"ve always liked this tune from my wornout vinyl of Directions trough all its appearances as part of live performances. . . . This was very interesting to me to hear all these takes after living with the one take previously released. . . I would say don't listen to these back to back! After the first few times through on sets like this with lots of alternates I don't listen to them back to back; I listen to one or two this time, then one or two the next time, and so on. . . . I like the "space" in this song and the structure. . . heck I just like it; I can certainly see someone not liking it.