Leeway

Fritz the Cat Cat Stevens Gato Barbieri

Yeah, live often provides that extra shot of energy that can turn even a ballad into a heavy hitter. More Motian, but also some Jim Pepper: MISTERIOSO - Paul Motian Quintet - w/Jim Pepper (ts, ss), Joe Lovano (ts), Bill Frisell (elec g), Ed Schuller (b). Soul Note 1986.

DANCE - Paul Motian Trio: PM (d), David Izenzon (b), Charles Brackeen (ts, ss). Sept 1977. White label promo (FWIW, but a nice copy). Very much enjoy Brackeen's playing here, but then the whole trio is very fine.

Claudine Longet Claudette Colbert Steven Colbert

Yeah, grabbed that photo (but not the LP) off Popsike. WP: I really dig this group.

BALLROOM MARFA - Fire Into Music: Jemeel Moondoc (reeds) Steve Swell (trombone) William Parker (bass) Hamid Drake (percussion) (Maybe should add the freight train that rumbles by too).

Wade Boggs E. Power Biggs Boog Powell

"Number One" "Number Six" "Seven of Nine"

Hyman Roth Philip Roth Joseph Roth

Lacy is one of the few who can play Monk and make it interesting to me. That's because Lacy spent years exploring and getting deep inside Monk;s music; a long term apprenticeship. When he played a Monk piece, it was no hip shot, no one-off. Not only did Lacy validate his own approach to Monk, his playing also had the effect of validating Monk's approach to Monk, a case of the acolyte reaffirming the qualities of the Master.

Mary Halvorson - Georgetown University, Friday the 13th, February 2015 Just got back from a Mary Halvorson solo performance at Georgetown University, part of their Afternoon Music series. Mary also conducted a Master Class for GU music students. The concert was presented free (thank you GU) as part of Mary's visit. I've seen Mary in every possible configuration, from nonet to duo, but her solo appearances have been scarce, so this was an especially welcome performance. Do I need to say that the performance was superb? It was. The interesting aspect of this performance was Mary performed "covers" of a variety of compositions. I took note of the set list (I might have missed one); a fascinating set of compositions: Ornette Coleman - "Sadness" Carla Bley - "Ida Lupino" Annette Peacock - "Blood" Oliver Nelson - "The Cat" Duke Ellington - "Solitude" Chris Lightcap - "Platform" Tomas Fujiwara - "When" Although the concert was recorded by GU, it is not planned to be released; however, Mary has recorded these and other pieces for a solo album, which will be released on Firehouse 12 in the Fall. That will be one to get. Friday the 13th turned out to be a lucky day after all.

Walter Pidgeon Duck Dynasty Jim Fowler

Aqua Velva Man Baby Face Nelson Smoothe Operator

Moses Pharoah Sanders Sam the Sham & The Pharaohs

Nice write-up, thanks. Looking forward to their new album.

I suppose the Mars mission is going to require, um, certain "population efforts" by the colonizers. That is a long space ride.

I think I like Nasheet in that line-up. Nice to have Lucien with a real piano. Enjoy.

Carol Channing Channing Tatum Tatum O'Neal

Soapy Smith Harriet Tubman Billy Bathgate

I saw Mette live up in Brooklyn this past summer, and I think she's the real deal. I found her playing pretty cool. More hesitant about Corsano; he's been dull the last couple of times I've seen him. I'll grab that disc. though. I think I posted something in the live thread about her back then. PS: Here's the write up of Mette's June 11th concert at I-Beam. (Keir Neuringer was the first set): Second set was Danish-Norwegian (born in Denmark, living in Norway) alto sax player, Mette Rasmussen, with pianist Craig Taborn. Metteplayed with assurance and deployed an extensive saxophonic vocabulary, but seemed just as interested in composing a narrative as in demonstrating technique. In what might be a trend, Mette also used a fair amount of movement and body language while playing. (Gustafsson does too, now that I think of it). Taborn, by the way, gave yet another "all-in" performance on piano; he's really quite exciting when given the range. I'm seriously looking forward to seeing Mette again. I think she will be in Philadelphia today and New Haven tomorrow (?).

Bob Griese Olive Oyl Slick Rick

I suppose you have all the Braxtons? If not..... D'Agaro's stuff is worth a look. One more: "Cracklenob" is essential. Halvorson, Radding, Wooley.

Linda McCartney Nancy McCartney Heather McCartney

Sallie Mae Freddie Mac Jimmie Mack

And what does that reference have to do with anything? (my italics/bold) Please Lee, is that even a serious question? What do you think it has to do with, besides personal and community identity, at least a few strains of American historical narrative (Jewish diaspora, Upper Midwest of same) etc etc. I'm drastically understating: it means everything and to evade that is to be complicit with historical anti-Semitism... You know the story of Arnold Schoenberg's conversions and why, right? (The economics of it matter, greatly, also. Compare Dylan's background, his ideas on labor value with the biographies of Tom T. Hall and Merle Haggard.) The schtick "Dylan" playes with in other people's voices and now in his own absurdly dyed hair (or wighat) dotage is inane: like he's one of the oppressed... but not those oppressed, whose tales remain great, important stories! (Insert your favorite I.B. Singer & Cynthia Ozick & Philip Roth here.) Instead this bitter schmuck Dylan plays like Mr. Americana, the voice of our collective historical concious of verities etc... It's farcical. Indeed, it's so farcicaal at age 73 he still lashes out at Merle Haggard and especially the great Tom T. Hall and even Jerry Leiber, just to keep it jazzy-- That "Bob Dylan" forsook his heritage-- baruch attah adonai...-- but is still pissed off at Jerry Leiber essentially called him a fucking fraud-- which he was and is-- how does that work? Did Dylan's $$$ make him crazy or is it the hair dye? (That's from Josh Alan Friedman --> http://www.amazon.com/Tell-Truth-Until-They-Bleed , you likely know & already love his work with artist brother Drew) Sometimes Dylan may fraud of genius, he may be the fraud of "If Dogs Run Free" but to front on Merle Haggard or Tom T. Hall-- -- and yes, lest we forget, Tom T. Hall's wife of four decades died a few weeks ago, think Bob said Kaddish for Dixie, tho' she knew far far far more of what, who Dylan pretends to be, from Mother Maybelle and Faron Young on down? Yeah, me neither. (You know Lenny Bruce at Carnegie Hall where he extols this song right? Dylan's "Lenny Bruce" is trying to tell us something but dopily doesn't know how. Dylan had fifteen years longer to think about it and Phil Ochs' "Doesn't Lenny Live Here Anymore" still blows it away.) So "Dylan" does have a "right" to be a touchy about Leiber and, classless wannabe salt-of-the-earther that he is-- though actually he's been a show biz functionary, however idiosyncratic, since he was what 19-years-old?-- he let Jerry have it. However, as noted in previous posts, you 'fact check' Dylan's nonsense re: Kristofferson & Tom T. Hall, none of it holds up: chronologically, 'politically,' aesthetically, etc. Shalom! Nice comeback Moms, but I don't buy it. Your initial statement has the whiff of anti-Semitism, and you know it.