Leeway

You should definitely try to see the Matisse cut-outs. It will probably be the only chance to ever see them together in one exhibit. FYI - get there early, because it's VERY popular. Good advice. I might go up a couple of days in advance so I can do the museums on a weekday. BTW, I picked up a folio edition of the cut-outs some years ago at a library sale!

Thanks for the suggestions. When I go back for Winter Jazz Fest, I might be able to squeeze in some museum-going. We had actually intended to go to the MOMA on this last trip, but the logistics defeated us. Maybe this next trip.

Peter Rabbit Easter Bunny Bunny Yeager

Edmund St. Bury William Sloan Coffin Carrie Undewood

Walter Jackson Bate Fritz the Cat Jerry Springer

I'd certainly be along to that if it were within reach. That Léger pic whets my appetite! Here a link to Lauder's collection: http://www.metmuseum.org/research/leonard-lauder-research-center/cubist-collection/the-collection The Legers are striking. I've not yet come across a Leger exhibition that did the artist justice, but I did learn from this one. The Lauder collection is still owned by Lauder, and "promised" to the Met. I suspect the exhibition, besides whatever altruistic, public motives it has, might also serve valuation and authentication purposes as well, prior to donation. There were some pictures of the collection in situ at Lauder's apartment, which, from the photographs appeared to be on Central Park, I would guess on 5th Avenue, hardly a stone's throw from the Met. I felt a bit sorrowful that these experiments in radicalism were hanging above the Louis Quinze chairs and plush Turkish carpets, having risen from the bottom 99% to the 1% through the operations of the marketplace. BTW, I corrected a typo in my original post : BBB should be BFF= Best Friends Forever (intended ironically). Yes, a pretty fair amount of wall reading. The curators definitely gave close readings of the works. Typically, I try to do a circuit of an exhibition then return to read the wall on those that have gained my attention. or at least view the painting then read the wall. Not a huge exhibition, but like you said, packed with information.

Interesting point. Maybe in Spark, characters determine their fates, while in Fitzgerald, Fate determines the characters.

Enjoyed viewing this exhibition when up in NYC last week, at the Met. Got a good insight into the BFF/ Frenemies relationship betwen Braque and Picasso, and clearer insights into Leger's relationship to Cubism.

Bonaroo Bonaparte Boehner

Read Sarah Thornton's excellent book while also reading another Iris Murdoch novel (more on that later). Thornton considers herself a "sociologist" and "ethnographer" of the art world, observing and participating in various art events to better understand how the art world, and in particular, the art market, works. She focuses on 7 aspects of the art market: the auction; art school grad "crit" (seminar); art fair; art prize (the Tate); art magazine (Artforum); artist's studio (Murakami); and the Venice Biennale. I found it fascinating. Even areas I thought I knew well, such as the auction house, yielded fresh insights. Engagingly written.

I would agree with that last statement, both from recordings and live.

Late Pokemon White Rabbit

Growing up in an Italian family, we used to have those massive, multi-course Italian meals with lasagna, veal parmigiana, Italian sausages, meatballs, etc etc. Those productions were hard to continue, so in my family we now have turkey at Thanksgiving, of course, and roast beef with Yorkshire pudding, gravy, root veggies, etc, on Christmas. I have no idea if this is "authentic" in any way (probably not), but it makes for a nice meal.

Octopussy Puss 'N Boots Nancy Sinatra

Simon Says! Says You! One Too Many Salty Swift and Not Goodbye!

So why don't I own it? Something to remedt in 2015 It's been elusive at times. The LP can get a little pricey. I think I snapped up the CD some time ago from the Dusty Groove folks. Fully deserves a reissue. (maybe it's out there on DL??). It's positively jaw-dropping. Parker in supreme vigorous potent command of his soprano. Never heard monoceros but have "at the finger palace" here is Chadbourne's review Review by Eugene Chadbourne Figuring out which is the best Evan Parker solo recording is a quest that could either result in a highly enjoyable lifestyle or having commitment papers served. In either case this particular recording might turn out to be crucial, it presents Parker on one of his early trips to the United States playing before a small group of fans whose commitment to his style of improvising underscores the logical connection between "fan" and "fanatic." With Parker arriving on the west coast with a status somewhere between Gandhi and Crusader Rabbit, the atmosphere was ripe for a totally confident and impressive display of his innovative concepts and playing style. This is what exactly what Parker delivers here, in a venue that was basically somebody's livingroom, that somebody being pianist Greg Goodman, who also originally put the performance out on vinyl. At the Finger Palace acquired legendary status as the ultimate Evan Parker performance, and while research continues on that subject suffice to say there is enough evidence to rank the man as the ultimate soprano saxophone soloist. "Monoceros and "Finger Palace" were both recorded in 1978 (Monoceros in April, Finger Palace in November during a tour of Japan). I think Monoceros holds the edge, but they are both superb. I talked with EP once about "Finger Palace" (which is only out in a Japanese issue, and I think O/P), and EP said that the "Vaincu Va" album (which I have and which is easily available) was recorded shortly after that tour of Japan and recording of the "Finger Palace" album, and his chops were in great shape, so add that to the list of superb recordings/performances. Still, it's "Monoceros" for me.

So why don't I own it? Something to remedt in 2015 It's been elusive at times. The LP can get a little pricey. I think I snapped up the CD some time ago from the Dusty Groove folks. Fully deserves a reissue. (maybe it's out there on DL??). It's positively jaw-dropping. Parker in supreme vigorous potent command of his soprano.

Dr. Seuss Cat in the Hat Mad Hatter

Quite possibly the greatest soprano sax album ever made.

Roger That! The Rajah Roget's Thesaurus

I remember reading how Roy Haynes meticulously tuned his drums for a certain sound. I suppose Wilson and Rainey most likely do the same. It just seemed to me that WIlson had a "harder" sound than I usually hear. He did well though.

Got back from NYC yesterday to find my order from Catalytic Sound, which included Mad Dogs OTL, waiting for me. With considerable trepidation, I opened the package. Are you familiar with those "unboxing" videos on YT? I should have done one for this. Inside the Mad Dogs folder, I found all 4 CDs had come off their spongey pucks, one taking the puck with it on the way out. However, the good news is that all 4 discs were "face down" on the opposite side of the booklet, in precise alignment with their original, but opposite page, order. I don't know how that could have happened. I would have thought it more likely that they were found in a confused huddle at the bottom of the sleeve, like last time. Anyway, they look like they survived well enough. Now to get to play them,

Just got back home from NYC, where I and my wife spent the last few days. This was not intended as a music trip. My wife wanted to go back to our home town for some Christmas-y type things, and I was the designated chauffeur. No music plans at all in the itinerary. But, as things worked out, I saw an opportunity to check out Ray Anderson at The Stone on a couple of night; clever me. Thursday night, first set, was the Ray Anderson-Marty Ehrlich Quartet, with Brad Jones on bass, and Matt Wilson on drums. I've always liked Ehrlich. Jones was not much known to me. The big question mark for me was Matt Wilson. I recall reading Downbeat and JazzTimes articles years ago about Wilson's slick haberdashery, and stuff like that just turns me off. Cool for GQ, but I don't give a damn about it in music magazines. On with the show. Ray was in great form. He really sings on that trombone. Plus it's an extension of his personality: full of energy, enthusiasm, involvement. It's a warm virtuosity. Ehrlich did some phenomenal playing on both clarinet and alto sax, but I found myself enjoying his clarinet playing a bit more. He also contributed some compositions, which were first-rate. The one that opened the show (I lost my little notepaper) had Marty on clarinet and Ray of course on trombone, and that turned out to be a sweet pairing. Marty explained that another composition of his, "Erica," was based on a trip to the record store, where he wanted to pick up an Albert Ayler album. His wife Erica asked him to pick up a Tristano album while he was there. The composition was filled with Tristano references, and ended with--spoiler alert-- a phrase from Ayler. Nice. As Steve mentioned this group too moved from in to out, and from out to in, and danced on the borderline as well. Great players make their own rules, and Ray and Marty were a tuned-in and omni-competent front line. Brad Jones played very nicely. And for Matt Wilson; he must have ditched the haberdashery, as he showed up in a nicely worn sweater and nicely worn jeans. I liked his playing. Matt kept the in-out methodology fluid and filled with interesting sidelights. He filled the space but not in a cluttered way. It did seem to me that the tone or tuning of the drums seemed a little inert or flat. I'm not sure if that is Matt's preferred tuning, or the kit, or just my subjective response. In any event, it did not bother me. Overall, quite a nice group, and it seemed like a good fit for all the musicians involved. Quite amazingly, I was able to get back to The Stone the next night for the 10:00PM set, for The Point Being, a septet with conductor, Sarah Weaver. I've seen Lawrence "Butch" Morris do "conduction," but I've not seen a conductor that I can recall doing classic-style conducting at The Stone. As Weaver later explained, her type of conducting sought to bring out as much as possible the content of the notated score, whereas Butch's conduction sought to guide groups of improvisors in their improvisational playing. So this was a more formal performance, although there were times when Weaver stepped aside and I expect that some improvisatory passages were played against the score. Again, a first rate group (excellent musicians obviously like playing with Ray): Uri Caine, Jane Ira Bloom, Marty Ehrlich, James Zollar, Mark Helias, Gerald Cleaver. I had not seen Caine, Bloom or Zollar before, so that was an added inducement to get down to The Stone. They were all fine players, and the ensemble played really well together. Jane Ira Bloom lay down some fiery soprano work half in and half out of her seat. Weaver's conducting was rather fascinating to watch, and the musicians did seem to respond to her gestures and direction. What didn't I like? The spoken word segments that played with the name of the group, which was also the name of the composition. Ray speaks so much better through his trombone, it seemed unnecessary to get into verbal wordplay, but intermittently he would play around with "the point being" as a catchphrase. Ehrlich and Weaver joined in too from time to time. The concept seemed a little banal to me, and not on a level with the music itself. I was starting to get a better appreciation of Irene Aebi! But there was so much good music, it was forgivable. Fun to see a larger group from time to time and experience that wave of sound crashing over one. I was quite pleased with my two Anderson sets. I would have loved to stay for the Sunday show, but travel plans finally got in the way. Fortunately, Steve brought you the news and glad tidings.

Gabbu Gifford Jared Lee Loughner Jared "The Galleria of Jewelry

Just in the nick of time again, I got my money out of rubles and back to dollars. Contribution made. Thanks Jim.