minew

Peter Brotzmann/Hamid Drake Duo 3030 (3030 W. Cortland) Fri. Dec. 19 at 10:00 PM If you go, look for me there. I'll be the guy who looks like he just spent two days driving from New Orleans with an eight-month-old in the back seat.

Not sure. The last personnel listing I could find on the web was from 1995: "Ari Brown ,Vandy Harris ,Mwata Bowden ,Edward Wilkerson ,Ernest Dawkins , Aaron Getsu (reeds); Maia ,Taalib-Din Ziyad (flute); Fred Hopkins (bass); Dushun Mosley (drums); Ameen Muhammed ,Robert Griffin (trumpet); Steve Berry , Normal Palm III (trombone); G'Ra (aka George Hines) (recitation); Ann Ward (piano). There were other musicians who I could not identify including a bassist, two percussionists, one trumpet, two trombones and one baritone saxophone." Other shows in Chicago that week: Peter Brotzmann-Hamid Drake Hamid Drake- Michael Zerang Triage Von Freeman-Ed Petersen

Anyone? Anyone? Bueller?

The AACM Large Ensemble is scheduled for Fred Anderson's Velvet Lounge for Dec. 19-20. Anyone seen an iteration of this group recently? The last personnel listing I could find for it was in 1995. I imagine it's somewhat fluid. At any rate, I'll be in Chicago then and plan to go. Any information would be apprectiated. Lots of other stuff going on that week that will bring me to 3030, the Empty Bottle, Links Hall, and the Jazz Record Mart. Any of you Chicagoans plan to catch any of that?

I recommend the Peter Pettinger biography, coincidentally titled "How My Heart Sings." Pettinger was a pianist and does a great job describing Evans' musical background. Of course, if you haven't already, check out "Waltz for Debby" and "Sunday at the Village Vanguard" both live recordings from the VV. "Portrait in Jazz" is a personal favorite from the VV/Lofaro trio's studio work. I also really like "The Tony Bennett/Bill Evans Album" (1975). Also interesting from that era is "Affinity" with Toots Theilmans and lots of classic Evans time signature antics.

I'd take Michigan straight up after the way they embarrassed the Buckeyes.

I am indeed happy about my alma mater getting in though agree that USC should be the opponent. It's likely next year the BCS will have a rule about having to be a conference champion. In the meantime, Go Tigers.

Anyone seen the -tome- "Jazz and Death"? There's a whole chapter on musicians' dental problems.

Puff Magnolia

Best Jazz Vocal Album (For albums containing 51% or more playing time of VOCAL tracks.) Man In The Air Kurt Elling [blue Note Records] May The Music Never End Shirley Horn [Verve Records] Nature Boy - The Standards Album Aaron Neville [Verve Records] A Little Moonlight Dianne Reeves [blue Note Records] North And South Luciana Souza [sunnyside] Best Jazz Instrumental Solo (For an instrumental jazz solo performance. Two equal performers on one recording may be eligible as one entry. If the soloist listed appears on a recording billed to another artist, the latter's name is in parenthesis for identification. Singles or Tracks only.) Matrix Chick Corea, soloist Track from: Rendezvous In New York [stretch Records] All Or Nothing At All Joey DeFrancesco, soloist Track from: Falling In Love Again [Concord Jazz] Butch & Butch Keith Jarrett, soloist Track from: Up For It (Keith Jarrett, Gary Peacock & Jack DeJohnette) [ECM Records] Africa Pat Martino, soloist Track from: Think Tank [blue Note Records] All Or Nothing At All Mike Melvoin, soloist Track from: It's Always You [City Light] Best Jazz Instrumental Album, Individual or Group (For albums containing 51% or more playing time of INSTRUMENTAL tracks.) Rendezvous In New York Chick Corea [stretch Records] The Grand Unification Theory Stefon Harris [blue Note Records] Extended Play, Live At Birdland Dave Holland Quintet [ECM Records] Think Tank Pat Martino [blue Note Records] Alegría Wayne Shorter [Verve Records] Best Large Jazz Ensemble Album (For large jazz ensembles, including big band sounds. Albums must contain 51% or more INSTRUMENTAL tracks.) You Call This A Living? Wayne Bergeron Big Band [Wag Wecords] Looking For America The Carla Bley Big Band [Watt Works/ECM Records] Wide Angles Michael Brecker Quindectet [Verve Records] XXL Gordon Goodwin's Big Phat Band [silverline] New York New Sound Gerald Wilson Orchestra [Mack Avenue Records] Best Latin Jazz Album (Vocal or Instrumental.) Cuban Odyssey Jane Bunnett [blue Note Records/EMI Music Canada] Live At The Blue Note Michel Camilo With Charles Flores & Horacio "El Negro" Hernandez [Telarc] Birds Of A Feather Caribbean Jazz Project [Concord Picante] Isla Mark Levine & The Latin Tinge [Left Coast Clave] New Conceptions Chucho Valdés [blue Note Records]

Recent searches also turned up the fact that the voice of Roosevelt also played Gordon on the Street. Apparently left in 1971. Perhaps Calloway took over the character then. At any rate, "Gordon" (pictured on that album cover w/ Roosevelt) has also passed. Looked at the box, too, but it seemed to be mostly songs of guest stars rather than the characters'. I'll have to wait for the Mosaic for a more definitive collection.

Roosevelt after being pulled over by the LAPD?

I used to dig Roosevelt and his gritty, street wise tunes. Now it seems he's been airbrushed out of our childhood memories. Even his recordings are hard to trace - available only on vintage vinyl. Anyone seen Mr. Franklin?

Also voting for Bang/Parker/Drake's Scrapbook, followed closely by "Never too Late.." (although is that technically 2002?)

Or Hall and Oates?

Also highly recommended if you can find it is his '91 Blue Note "This is New" with Calderazzo and Watts among others. Includes his great composition "Gypsies." We've been lucky to have RM here in NO for extended stays and I've become a fan.

Fuck you, you fucking fuck!

Perhaps you're thinking of mole poblano, an even better turkey dish.

I come from the home of the Tur-duc-hen and have eaten a few. The difficulty with this dish is that it must be overcooked to ensure doneness in all the layers, resulting either in dryness or the whole thing kind of falling apart. The key to a decent one are the 3 layers of contrasting stuffings. If they are well made and seasoned, the whole thing will taste pretty good. BTW, as I recall, there was a pretty decent thread on this complete with photos at the old BNBB. Another gem lost for all time to our culture.

Yeah, I'm interested to hear about the current literature on this (last 10 years) because it's been that long since I kept up with it. I wonder if anyone's somehow tied this discussion to the "civic ritual" craze that was sweeping the field a few years ago. My weekend forum visiting may be sporadic but I'll be back for more as soon as I can.

Love for Sale

Nigel Hamilton is a bufoon who is one more bad review away from not being able to find a publisher.

It does. Also, I think it's gonna be just you and me on this one. I seem to remember that principal counter to Baron's general argument is contained in the "professional rhetorician" issue that you refer to. That is, humanism in general was a social and cultural current among Bruni's class in Italy. Although classical political forms were well known, tried, explored, and discussed throughout the Middle Ages (Kristeller, Skinner), in Bruni's time, neo-classical political forms (or anything else) were valuable simply because they were neo-classical (Kristeller, Baxandall). Or economically speaking, Lauro Martines ("Power and Imagination") argues that non-noble elites like Bruni adopted/espoused classical forms to legitimize and consolidate their merchant oligarchies. And William Bouwsma would go so far as to describe it as politcal rhetoric without correspondence to political reality. Humanism clearly "mattered" but how and why in "civic" terms. I think everyone see's Baron's argument as the starting point for the discussion but are unwilling to take Bruni at his word, as Baron does - and unwilling to overestimate his (Bruni's) impact given the way public life played out in the Quattrocento in Firenze.

I voted Oswald alone but would have also voted "all of the above." Last night's three hour "Frontline" (heavily based on Posner) showed pretty conclusive physical evidence that Oswald fired the three shots from the gun the killed Kennedy and injured Connally. It also traced Oswalds paths through myriad groups that hated Kennedy or even espoused his murder: Pro-Castro, Anti-Castro, N.O. Mafia, Socialists, Anti-commumnists, et al. A picture emerged of a loner and aspiring/self-starting double agent who was frustrated by his inability to have an impact on events much larger than himself. No question that he had enough conflicting associations to raise plenty of questions that will never be answered. It seems more likely than not, though, that his act was the product of his Kennedy-hating millieu and personality rather than a coordinated effort.

Wow. Never expected this to come up here. It's been over a decade, but as I recall, Baron's argument was that the crisis (chaos and power vaccuum) of the late 14th C. Italian city states caused figures like Bruni and Salutati to call on the lessons of the classical world for (city-)state building. In so doing, they resurrected classical political forms, e.g., republics, senates, etc, and thus, at least in political terms, were responsible for Renaissance. Am I remembering this correctly? Rival theses like Burckhardt (earlier), Kristeller (contemp. w/ Baron), and Baxandall (current) focus more on humanism/classical philology itself as the catalyst for changes in other arenas. What's your take?