April 21, 2007


by Chris Randall

While it is certainly true that in order to make a living in the music business, you're going to have to swallow your pride at some point, I'm of the firm opinion that you have to draw the line. Diamond Dave is the Fucktard Event Horizon, of course, as one can't be a bigger fucktard, but there's a huge swath of the entertainment industry that exists in that purgatory between "getting by" and "over the edge."

Weren't we just talking about Genesis? That's just creepy. I'm never going to look at a soprano sax as a potential lead instrument ever again after seeing that. What is it about soprano sax players and perms? Does playing the instrument with any proficiency (and I use that term loosely) also inform your hair style? And can't a soprano sax play in tune? Is it that hard?

In any case, more power to 'em for making a living making music. Somebody has to do it, I guess. Alex Byrd is to blame for bringing this to my attention.



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Apr.22.2007 @ 3:00 AM
It's not really the same thing, and I'm sure a bunch of you have seen this. It's all I could think about after hearing the extremely smooth music:

link [www.yachtrock.co...]">link [www.yachtrock.co...]


Apr.22.2007 @ 3:17 PM
At least they're playing live music, I can't remember the last wedding I went to with a live band. Including my own.

And I don't know if you've been to Philly lately, but the Rosie O'Donnells in the audience would lap that shit up.


Apr.23.2007 @ 10:59 AM
Pat Metheny's takedown of Kenny G:
link [www.jazzoasis.co...]">link [www.jazzoasis.co...]

Apr.23.2007 @ 11:24 AM
Steve Lacy.
Evan Parker.

btw: Coltrane wasn't exactly the most in-tune player, but his playing was so thick with ideas and imagination that you could let it slide.


Apr.23.2007 @ 2:25 PM
I wondered if someone was going to mention Evan Parker...

Of course, though he is immensely talented, Mr. Parker is like the Rick Wakeman of free-improv; i.e. lots of technical ability and amazing chops buried under layers of ego and pretentiousness. Not to mention that his standard improv phrasing is so indebted to Coltrane that it almost becomes predictable (at least the length of his phrases).

I saw him do a show in Austin a few years back...it was annoyingly "arty" in a self-concious way, particularly every time he and his compatriots trudged in or out of the room - eyes down, too much the serious ar-teestes to acknowledge the crowd. Assholes.

As soprano sax goes (and I'm a sax player), I'd rather hear it from the source (i.e. actual recordings of Coltrane) or forgo it all together and listen to Peter Brotzmann destroy a clarinet. (Now THAT was a great show...no Genesis covers, though.)


Apr.23.2007 @ 2:32 PM
Chris Randall
Anything Peter Brotzmann (or Casper, for that matter) does is fine with me. The two of them comprise what is, for all intents and purposes, the Neubauten of jazz. Not something for listening in polite company, but when I'm driving by myself on the way to snowboard in bad weather, Massaker is perfectly insane music.

If we're going to go down that road, though, my favorite is xmarsx. Mars Williams is a good friend of mine, so my opinion is biased, but the xmarsx album is one of my favorites.



Apr.23.2007 @ 3:03 PM
Mars is one haunted horn player. He sits in with Jim Baker (also haunted, plays piano and Arp 2600) every so often at a bar blocks from my place. Hardly anyone comes, but the music is always awesome.

Apr.24.2007 @ 2:48 PM
I second Wayne S. and throw in Sam Rivers.

Apr.26.2007 @ 2:37 PM
I would have gotten to see Mars a few years back when Brotzmann put together that octet tour, but Mr. Williams had some sort of falling-out with Peter and quit the tour a day or two before I saw them in Athens, GA.

Sadly, I have to admit that I am not actually familiar with Mars' work...I'll have to check it out.


Apr.26.2007 @ 2:38 PM
I'm an idiot. I DID see Mars when I saw Liquid Soul several years back...

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