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Monday Michiru Corner


JSngry

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That's Mondo Grosso, who I gather was the premier Japanese "Acid-Jazz" of the 90s. Good stuff, and a group/scene I wouldn't mind checking out at leisure in the future.

But Monday's moved way, way beyond that...

And yeah, today's Saturday, and I do go out and play. For a Memorial Day "extravagnza" featuring a Bob Hope impersonator hosting a "Cavalcade Of Stars" which is also a bunch of "celebrety impersonators".

Don't think I'll be going to church on Sunday, but after all that, you best believe I'll be getting down on my knees to pray...

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That's Mondo Grosso, who I gather was the premier Japanese "Acid-Jazz" of the 90s. Good stuff, and a group/scene I wouldn't mind checking out at leisure in the future.

But Monday's moved way, way beyond that...

Obviously - I just thought you might like to see her "in motion". :)

And yeah, today's Saturday, and I do go out and play. For a Memorial Day "extravagnza" featuring a Bob Hope impersonator hosting a "Cavalcade Of Stars" which is also a bunch of "celebrety impersonators".

Don't think I'll be going to church on Sunday, but after all that, you best believe I'll be getting down on my knees to pray...

Tough duty, man.

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Just picked up Moods, and Chris Potter puts in an incredible cameo on one tune.

I don't even care for Chris Potter (personal preference only, certainly a great player). But DAMN does he sound good here, loose and very intense at the same time.

Dave Kikoski, a player I like a little more, has also done what I think is among his best work on a Monday side, Episodes In Color. Which has me wondering...

Why is it that this type of music (I've been informed by my road partner Ira Bassett this evening that it CAN'T be pop because it's too good :g ) seems to open these players up in a way that "regular jazz" doesn't? I'd like to say that maybe it's because "regular jazz" is sorta, uh... not really relevant to these guys but they just haven't figured that out yet. But that seems a bit smug and harsh, even if it might accidentally be true...

And if it should accidentally be even only microscopically true (which is probably the point, because, after all, "regular jazz" is forever going to be relevant to every living soul on the planet from now until the end of time, right?) , what might that mean for all the other youngish folks who keep running around trying to establish "straight ahead" cred in the 21st century?

Maybe all it means is that it's easier to be yourself when you don't have the jazz police looking over your shoulder.

Yeah, that's it. NWA had a point after all...

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Cool, nice that you knabbed another one!

I agree entirely about Episodes in Color, and I bet there are other instances in this work.

I think there's another possibility at work. . . the sort of "electric Miles" phenomenum. In my opinion some of the persons involved in putting together Miles' electric albums, and his live shows, played at a level or at least specifically in a manner that they didn't elsewhere. Not really the same exact sort of fusing as is going on in Monday's machinations, but the new situation they faced of making Miles' vision come to reality under his direction seemed to incubate some babolicious playing that was some of their best work (again in my opinion).

In part a responsibility may lie in the charisma or "Yoda"-ship of the leader. Certainly many of these cats responded to Miles' personality and presence with challenged playing and inspired thinking. Perhaps Monday has the same leadership going on. SHE knows the elements that she draws from and stirs them in the bowl and perhaps these cats are just swept along with the strokes of her mixing paddle. I would not be surprised also to discover that both Miles and Monday had/have personal "presences" that are exciting and motivating.

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I'm amazed at how different, and yet stylistically joined by her talent and leadership and charm, the cds I have been enjoying of hers are.

Right now it's "Delicious Poison" which has such a great mellowness at its core. Great Rhodes and bass work.

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Yeah, Delicious Poison has proven for me to be very much the "stealth" record of the bunch. Dug it ok at first, but it just keeps getting better with every listen...

I'm also just now beginning to realize how much "different, and yet stylistically joined by her talent" also describes her vocals. She doesn't have just one voice, she's got a variety of voices, and the way that she varies them from song to song (and within each song) is pretty amazing. And I'd be hard pressed to name anybody in opo who creates contrapuntal background vocals any better or more diversified, and only a handfull who've done so as well as she has. And it's usually all her, overdubbed, and ina variety of voices, both lead and background.

After a while, the sheer cumulativeness of her talent hits you (or it did me, anyway) like the proverbial ton of bricks. All these great songs, all these great productions, all these great vocals, and it's all her. The productions aren't (almost) exclusively hers until after 1999 or so, but that was seven years ago, and she did do her fair share of self-production prior to that. It's not like this is just a good singer who gets lots of outside help to make it sound good, or just a great songwriter who depends on somebody else to produce her, or just a gifted producer who needs outside songwriting/singing talent to realize their vision. No, she's all of that her ownself.

And its not like there's just one song or one album that "captures her essence" or something like that. They all capture quite nicely the essence of whatever it is they're doing, but each one is, like you said, Lon, different. 4 Seasons is a self-contained masterpiece, but so is Optimista, and so is Episodes In Color. So are almost all of them, and they are all diffeernt yet they are all from the same place.

Hers is a subtle talent, to be sure. But it is also a massive one.

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Darn, too bad you missed her!

Jim, yes, I've noticed too the chameleonesque qualities of her voice. Sometimes I hear Minnie Ripperton sweeness and light, sometimes there's a Chaka Khan earthiness, sometimes there's that Stevie Wonder like authority and wisdom. . . . Her cascading and contrapuntal backgrounds are killer as well. Nobody seems to do it better.

As you say, you sum up all this stuff, the poetic nature of her lyrics, the supple strength of her music, the wise choices of the production, the very "vibe" she brings. . . .

Just like 'lectric Miles, I tell ya, even down to shifting sonic sounds of her lead instrument from work to work! :blink::)

MASSIVE talent. I'm spreading the word.

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