7/4

I'm with you on the standards, and the one ghost trance performance I saw was appalling, but boy am I glad I saw him with Holland & Altschul (a sweltering night at Studio Rivbea). I have to be in the right mood for the Ghost Trance music. I don't think his minimalism pieces are very good minimalism (and I don't think GTM is minimalism). I think I've heard him perform three times: solos and duets with Evan Parker at the Greenwich House Music School in '94? a show at the Knitting Factory, and a show at the Kitchen.

Quite an influental book on me when it came out, highly recomended (aka me too). I didn't think too much of his standards discs, but his own music knocks me out. Did I just repeat almost what Nate said? Great minds think alike.....

Because Stockhausen is one of his heros?

Amen brother!

I try this again: Whew!

I'll second that one. How about Homer reading/singing the Iliad to hand drums and Greek lute?

de Village Voice: For as it was not necessarily prophesied by Karl Rove and Stanley Crouch, so it shall be The Review of Norah by Tom Smucker February 13th, 2004 5:30 PM Norah Jones Feels Like Home Blue Note And it came to pass that in the new millennium, the son and his retainers rose up out of Texas, and the Court decreed they could ascend the throne of the Capital of Politics, and then there was a great calamity and the people were afraid. And some pundits found the words and actions of this ruler reassuring, while other pundits worried of new dangers, saying, "What is Texas, if it can produce such men?" And at this same time a young woman also came from Texas to the Capital of Culture in the East, humbly seeking naught but friends and work in jazz clubs and a contract with a small prestigious record label. And she was beautiful and unpretentious and had this voice and could play the piano tastefully and knew of Hoagy Carmichael and Hank Williams. And the wise old men at Blue Note understood that she was onto something, and they brought in Arif Mardin and some real jazz musicians but not too many and allowed the young woman to sing and play with her unknown but talented young friends, and they brought forth a masterpiece. Come Away With Me began to sell as well as any Blue Note record ever, and then it sold as well as any record in the world. And the people said, "Yes, this young woman reassures us, for she has lived in Texas and New York and she knows about both jazz and country and she knows about what's old and new, and no one else can sing like her and so we shall buy 6 million copies." And there was grumbling that she was only popular with those who were so old they wouldn't download, or too dumb to like good jazz, or too conservative for hip-hop. But young women loved her, and Bruce Lundvall backed her up, and Andre 3000 knew that she was good and had her sing on track 19 of The Love Below. For she had a voice that was subtle and accessible, yet sexy and sophisticated; naive, yet proficient. And when she played the piano she embellished that voice with licks that referenced Floyd Cramer and Nat Cole and the other instruments never overwhelmed her but were added sparingly with great effect. She and her friends wrote songs both strange and simple with interesting hooks and phrases that sounded like a little bit of jazz and rock, and her voice washed o'er the land. And so the young woman and her friends went out to tour, but they were too popular for clubs and had to play large halls. And the recording industry was overjoyed and gave her many golden statues and even gave one to Jesse Harris, who wrote her catchy but ambiguous hit single, and he signed with another small prestigious record label and went back to his own band. And then she started on her second record and the people worried. Could it be as good; would so much fame so early make her lose her bearings like Lauryn Hill or Karen Carpenter? How could she maintain that cozy closeness now that she'd won awards and played large halls? But the wise men at Blue Note knew that she was smart and talented and said, "We must be patient, for she has already helped us make so much money we have signed Van Morrison and Al Green." So she gathered round her boyfriend and the other members of her band, and didn't use Jesse Harris or the jazz musicians from her first recording but brought in Garth Hudson and Levon Helm. And Feels Like Home was more country and folk-rock and sounded less like jazz and lost urban feel. There were conceits and phrases that felt forced and the songs by Townes Van Zandt and Tom Waits and the duet with Dolly Parton didn't fit as well. But "Carnival Town" and "Humble Me" and "The Prettiest Thing" were odd and interesting and there were still those hooky mellow moments and the catchy upbeat opener and the closer with her lyrics to Duke Ellington's "Melancholia," just the piano and that voice. For the voice remained as confident and open as before. And if the choice of songs and beat and instrumentation were sometimes restrictive, still the piano and the voice endured, and the people knew the young woman had survived her fame and would continue. And the critic wondered whether she could become another Willie Nelson and worried that she suffered from Ryan Adams envy and hoped she knew she could become the one Diana Krall, Cassandra Wilson, and Gillian Welch prefigured. And so the people were relieved, for there were others at that time who were unable to sustain their fame. And in the Capital of Politics were those who sought to bind Texas and New York in fear and anger. But across the land were many who believed the young woman showed there was another way, and she was just beginning so the path was not yet clear. All they knew was that her metaphoric mother Carole King was singing for a senator from Massachusetts.

This keyboard is too new to have dirty keys. The previous one didn't last long enough to be come dirty. The keyboard on my old machine looks pretty good, except for all the filth between the keys. The grey matter?

Off the top of my head..... Coltrane with Miles, Coltrane with Eric Dolphy, any Coltrane post-A Love Supreme, Any Miles between 1965-1975, Ornette before he went electric (particularly if he had Don Cherry, Ed Blackwell and/or Dewey with him), James Blood Ulmer with Ornette, Alice Coltrane playing her own gigs post-JC, Pat Metheny with Jaco - although I understand that could be an iffy afair, Metheny with Ornette, Mingus with Dolphy, Mingus without Dolphy, Dolphy without Mingus, Jim Raney, Circle, Anthony Braxton with Dave Holland, Kenny Wheeler and/or George Lewis, pre-stroke post-1960 Sun Ra, La Monte Young during the 1960s-1970s-1980s and any time he played the Well Tuned Piano Live (at least we have the DVD), Terry Riley when he was playing organ and time lag accumulator, the original Mahavishnu Orchestra, Capt. Beefheart when he was still performing, King Crimson with John Wetton, Jimi Hendrix on a good night, Howling Wolf & Muddy Waters during the '50's, Charlie Patton and Robert Johnson when they were still around, Stravinsky conducting and Pythagoras. If I think of anyone else, I'll let you all know.

Sorry 'bout your mom, but it's good to see you back Rooster!

I don't think so. They were both playing Jazz. -_-

Ah. He is sitting here watching this thread.

Like "tuxedos"? I don't know...maybe if it featured nipple shields.

I haven't drank buttermilk since I was a kid (at least 34 or more years ago), but my niece (19) flipped out when see saw me sucking on a lemon at XMas. Sour cream on strawberries? No problem with that. My 80 yr old Mother is German, I grew up eating all sorts of things. At one point, she got a multi volume set of world cooking books, we got to try all sorts of stuff. Later, I applied this to my taste in music.

Whew!

And it took two weeks for this to hit the news. I remember seeing it in the news clips after the wardrobe malfunction and thought it was pretty racist. I mean...WTF? As for OutKast's Hey Ya!, I haven't heard it and hope I don't.

Yin/Yang Bop?

There's more problems than just getting in, I getting double postings with error messages and just opening different forums.

11:47 EST I just figgured that out.

I picked it up this afternoon. The first track is amazing, I had to stop it during the second track because a Norton Anti-Virus scan is making it skip. This disc is from a classic Braxton era that I love, just thought I'd spin it past you folks! I listened to the first disc of the Circle Paris 1972 concert on the way home this evening, it's been ages since I've heard that one. Pretty damm cool in my book.

And it's a shame it's not on CD. Maybe they have more in the vaults? Ooh I hope so!

On the Sensations of Tone by Herman Helmholtz (Dover) is an ancient classic, but it's more of a reference work for me. Genesis of a Music by Harry Partch is another interesting classic. Partch was also a composer and instrument builder, so he gets into more than just tuning theory. Check his music out too, very strange, but cool! The book that I got after those two is where I made my breakthrough and made the most sense to me was The Just Intonation Primer by David Doty. http://www.justintonation.net/primer1.html An Just Intonation explanation by Doty: http://www.justintonation.net/whatisji.html The Just Intonation Network web site One note (well two): 1. expect a long delivery time 2. don't bother with the membership, "newsletters" are published when he gets his act together. Edited fer screwy html code!

There's a Pharoah Sanders Impulse where Cecil McBee nails the 7th harmonic (partial) in a bass line. It's no mistake, he repeats it over and over again for a few minutes.

Which comma? The Pythagorean comma or some other one like the septimal comma?