Ornette Coleman on the Simpsons
Guy Berger
Ornette Coleman (or at least an animated likeness of him -- he
didn't say much and I didn't see him mentioned in the credits) made an
appearance on the Simpsons last night.
Guy
Joachim Pense
Sum1
"Guy Berger" <guy.b...@yale.edu> wrote in message
news:8ab189a1.03021...@posting.google.com...
There's probably not too much overlap in these two audiences.
Glenn Wilson
has always featured musicians over the years, and more than a few times,
has thrown in jazz references. Since Lisa plays the baritone sax, I guess
it's only natural.
I'm sure it couldn't compete with Kenny G's 'appearance' on SouthPark.
That was a classic.
Glenn
"Sum1" <shridurga@-spamoff-yahoo.com> wrote in message
news:b2rtmg$25e0$1...@nwall2.odn.ne.jp...
PRProf
>has always featured musicians over the years, and more than a few times,
>has thrown in jazz references. Since Lisa plays the baritone sax,
I agree completely Ornette just stood there, apparently to receive an honor
from the Kennedy Center, then bowed to Lisa Simpson, saying "We're not worthy."
But it was a dream Lisa was having. Also, I think someone different plays
Lisa's bari break every episode. Now THERE'D be an interesting tale!
Bill
Marc Sabatella
> I agree completely Ornette just stood there, apparently to receive an
honor
> from the Kennedy Center, then bowed to Lisa Simpson, saying "We're not
worthy."
> But it was a dream Lisa was having.
Was he actually identified as Ornette Coleman, or was it just a
likeness?
--------------
Marc Sabatella
ma...@outsideshore.com
Check out my latest CD, "Falling Grace"
Also "A Jazz Improvisation Primer", Sounds, Scores, & More:
http://www.outsideshore.com/
R. Lynn Rardin
<ma...@outsideshore.com> wrote:
> "PRProf" <prp...@aol.com> wrote:
>
> > I agree completely Ornette just stood there, apparently to receive
> > an honor from the Kennedy Center, then bowed to Lisa Simpson, saying
> > "We're not worthy." But it was a dream Lisa was having.
>
> Was he actually identified as Ornette Coleman, or was it just a
> likeness?
He was identified by name.
--
-Lynn (rar...@orion.rose.brandeis.edu)
Todd Tamanend Clark
>
> > The Simpsons has always featured musicians over the years,
> > and more than a few times, has thrown in jazz references.
>
> Ornette just stood there, apparently to receive an honor from the
> Kennedy Center, then bowed to Lisa Simpson, saying "We're not
> worthy." But it was a dream Lisa was having.
That show made my night!
It was the special three hundredth episode of The Simpsons.
Let's start a petition to Matt Groening advocating an appearance of
an apparition of Sun Ra for the four hundredth episode.
- - - -
TODD TAMANEND CLARK
Percussionist/Flutist/Violist/Guitarist/Thereminist/Synthesist
Primal Pulse (Label-Publisher-Studio)
The Monongahela River, Turtle Island
- - - -
Now Available:
Staff, Mask, Rattle (2-CD: Instrumental, 2002)
http://www.cdbaby.com/cd/ttc2
Owls In Obsidian (CD: Instrumental, 2000)
http://www.cdbaby.com/cd/ttc
- - - -
"American radio listeners, raised on a diet of ___ (fill in the blank)
have experienced a musical universe so small they cannot begin
to know what they like." - - Frank Zappa
Sum1
common but that's what makes life interesting, isn't it?
"Glenn Wilson" <glenn.wil...@pobox.com> wrote in message
news:VSf4a.16590$Yv2....@nwrddc02.gnilink.net...
Herb Levy
news:<vPi4a.731$Iz6.2...@news.uswest.net>...
> "PRProf" <prp...@aol.com> wrote:
>
> > I agree completely Ornette just stood there, apparently to receive an
> honor
> > from the Kennedy Center, then bowed to Lisa Simpson, saying "We're not
> worthy."
> > But it was a dream Lisa was having.
>
> likeness?
>
Matt Groening, who originated the series, has a much wider range of
musical interests than might be apparent to casual viewers of the TV
show, which often has guests who are more visible in pop culture.
He's written several articles over the years about music (unfortunately
I don't have any references at hand) and usually includes composers
like Messiaen & Partch, as well as many jazz composer/performers.
Nou Dadoun
One of his early (pre-Simpsons) books (maybe Life is Hell) had a wicked
parody of the quintessential rap classic The Message which he retitled
"The Massage" about suburban angst ("It's like a party sometimes,
it makes me wonder how I keep myself so slender"); for a friend's party
once, I managed to dig up the 12 inch of The Message which had the
instrumental version on the b-side, and we performed The Massage; it
fit perfectly.
-----------------------------------------------------------> Nou
"Broken hearts everywhere, people pissin' in the pool,
you know they just don't care...."
====
Nou Dadoun | dad...@cs.ubc.ca | Black Swan Records,
Dpt. of Computer Science,|*******************| 3209 W. Broadway,
Langara College, Vancouver, BC, V6T 1W5 | Vancouver, BC, V6K 2H5
(604) 323-5822 | http://www.blackswan.bc.ca | (604) 734-2828 / 734-2899 [FAX]
Ebay seller:blackswanrecords; Current online auctions linked from our web page.
Donald Clarke
free jazz had much in common..." Well, some cartoons are freer than
others, and gosh knows there's lots of cartoon jazz nowadays.
Donald Clarke
Austin Texas (where it's tough sledding: no snow)
nobody
> musical interests than might be apparent to casual viewers of the TV
> show, which often has guests who are more visible in pop culture.
I think he's a jazz guitarist. I remember reading about him
playing duets with John Scofield, or Jim Hall, or someone else
equally well known.
Brian Rost
> free jazz had much in common..."
The guy who created Ren and Stimpy (forget his name) was a blues bassist
down in Austin, TX.
Gary Larson who drew "The Far Side" is an amateur jazz guitarist. He
once drew an album cover (for Herb Ellis, I think) in return for some
lessons!
R. Crumb of Mr. Natural and "Keep On Trucking" fame had a hokum group
called the Cheap Suit Serenaders who recorded 3 LPs; their first release
around 1970 was actually a 78!
I still have a clipping I saved of an old Blondie strip where Dagwood is
introduced by Blondie to a matron who supports the local orchestra; she
asks him if he likes music, he says "Yes, I like the 3 B's". She
replies, "Oh you mean Bach, Brahms and Beethoven?" and Dagwood's
response is "no, blues, bop and boogie" !!!
--
Brian Rost
Stargen, Inc.
**********************************************************************
Marc Sabatella
> I think he's a jazz guitarist. I remember reading about him
> playing duets with John Scofield, or Jim Hall, or someone else
> equally well known.
This might be, but is it possible you are confusing him with Gary
Larson, creator of the "The Far Side"?
It's obvious enough that Groening (sp?) has a fascination with jazz,
though. One of my favorite "Simpsons" lines comes from Marge, horrified
on catching Lisa hanging out with that blind saxophonist: "Get away from
that jazz man!".
Marc Sabatella
> I would have never guessed that fans of cartoons and free jazz had
much in
> common but that's what makes life interesting, isn't it?
Well, "The Simpsons" made its mark as a sort of counter-culture thing,
poking fun at the establishment. And jazz in general, and free jazz in
particular, has this element of being an "outsider" as well. Of course,
"The Simpsons" has become pretty mainstream over the years. Not that it
has changed much, but perhaps society has.
Kramer
painless reference to a jazz icon and people are falling over
themselves with glee. If he really cared about jazz he'd use some of
the Fox network's millions he's been paid over the years to help
support and promote the music, instead of just dropping names in order
to shore up his hip credentials and cause a little flutter among the
cognoscenti.
J. Beer
> "nobody" <noe...@nowhere.net> wrote:
>
> > I think he's a jazz guitarist. I remember reading about him
> > playing duets with John Scofield, or Jim Hall, or someone else
> > equally well known.
>
> This might be, but is it possible you are confusing him with Gary
> Larson, creator of the "The Far Side"?
>
> It's obvious enough that Groening (sp?) has a fascination with jazz,
> though. One of my favorite "Simpsons" lines comes from Marge, horrified
> on catching Lisa hanging out with that blind saxophonist: "Get away from
> that jazz man!".
One of my favorites too. As I remember it, Marge, being very nice and
friendly, then says
"Nothing personal. I just fear the unknown". In the same episode, Lisa
starts improvising in the school band rehearsal, which makes the conductor
angry, saying "No more outbursts of unbridled creativity".
Jeff
Dave Holmes
"Bleeding Gums Murphy", the saxophonist with the $1,000-a-day Faberge
egg habit.
I believe in one episode he (or perhaps Lisa) practiced while walking
the length of the main bridge in Springfield (a la Sonny Rollins).
D.
Steve Edwards
Jon Meltzer wrote:
> On Tue, 18 Feb 2003 04:49:12 GMT, "R. Lynn Rardin"
> <rar...@orion.rose.brandeis.edu> wrote:
>
> >He was identified by name.
>
> That does it. After fifteen years without one, it's time to own a TV
> again.
You can get a DVD drive for your computer and start buying them on DVD.
Seasons one and two are on the market now!
Steve E.
Guy Berger
> I would have never guessed that fans of cartoons and free jazz had much in
> common but that's what makes life interesting, isn't it?
Ornette is not free jazz.
Guy
Sneakerface
environmentalist guy and has a sit in on a tree so as to save it from
the dreaded loggers ? They all think she has died when she goes home
for a short break and finds the tree is cut down. Then at the
'funeral' / wake for her , Branford Marsalis is called up to play her
saxophone in tribute, but Milhouse intercedes, taking the sax saying
they can clone Lisa from the spit in her saxophone.
Then of course, there was the episode where Lisa tries to get music
funding for the school and Tito Puente appears....
Dan Given
news:3E52CCC5...@REMOVEcharm.net...
> Actually, there have been several, often through the persona of
> "Bleeding Gums Murphy", the saxophonist with the $1,000-a-day Faberge
> egg habit.
>
> I believe in one episode he (or perhaps Lisa) practiced while walking
> the length of the main bridge in Springfield (a la Sonny Rollins).
>
Bleeding Gums was re-discovered playing on a bridge (I think contemplating
planning suicide). I have a plastic 6" Bleeding Gums "action figure",
holding an alto and a record called Sax on the Beach, sitting on top of my
computer at work - though his character was sort of reminiscent of Rollins
at time, the doll reminds me more of Julius Hemphill.
PRProf
>likeness?
The cartoon character was identified as "Ornette Coleman," and came on stage to
receive a Kennedy Center award; it was Lisa's dream.
Bill
void
>
> There's probably not too much overlap in these two audiences.
On the contrary, Ornette Coleman and the Simpsons are both appreciated
by people with an ear for offbeat genius.
--
Ben
"An art scene of delight
I created this to be ..." -- Sun Ra
void
Is "Free Jazz" free jazz?
(Or is "Free Jazz" free jazz free?)
void
Such a nattering nabob of negativity you are. I'm sure Groening would
be thrilled to hear that he's been paid millions, though he might
be disappointed when he learned that those millions were nothing more
than the figment of a Usenetter's fevered imagination.
void
> Somebody wrote, "I would have never guessed that fans of cartoons and
> free jazz had much in common..." Well, some cartoons are freer than
> others, and gosh knows there's lots of cartoon jazz nowadays.
I think Don Byron did an album of cartoon jazz called "Bug Music".
void
>
> R. Crumb of Mr. Natural and "Keep On Trucking" fame had a hokum group
> called the Cheap Suit Serenaders who recorded 3 LPs; their first release
> around 1970 was actually a 78!
Have you seen _Ghost World_? The Crumb family was heavily involved with
the movie. In one scene, there is a sort of wry cameo appearance made
by a copy of a Cheap Suit Serenaders album.
Joshua A. Solomon
"Herb Levy" <he...@eskimau.invalid> wrote:
> Matt Groening, who originated the series, has a much wider range of
> musical interests than might be apparent to casual viewers of the TV
> show, which often has guests who are more visible in pop culture.
>
> He's written several articles over the years about music (unfortunately
> I don't have any references at hand) and usually includes composers
> like Messiaen & Partch, as well as many jazz composer/performers.
Frank Zappa claimed Groening persuaded him to release a complete concert
from his archives. The result was You Can't Do That On Stage Anymore Volume
2. Highly Recommended.
js
Jack Woker
> the movie. In one scene, there is a sort of wry cameo appearance made
> by a copy of a Cheap Suit Serenaders album.
That's because the director of "Ghost World", Terry Zwigoff, was a member of
the Cheap Suit Serenaders. Zwigoff, as you may already know, made the
excellent documentary "Crumb". Not sure about any Crumb involvement in
"Ghost World", however.
jack
Jason Michael
"void" <fl...@parhelion.firedrake.org> wrote in message
news:slrnb568tk...@parhelion.firedrake.org...
> On 18 Feb 2003 11:18:07 -0800, Donald Clarke <don...@earthlink.net> wrote:
> > Somebody wrote, "I would have never guessed that fans of cartoons and
> > free jazz had much in common..." Well, some cartoons are freer than
> > others, and gosh knows there's lots of cartoon jazz nowadays.
>
> I think Don Byron did an album of cartoon jazz called "Bug Music".
>
Yes. That album is a tribute to Raymond Scott, whose music was often used in
the Warner Bros. cartoons scored by Carl Stalling. "Powerhouse" is probably
his most recognizable composition. Another jazz musician heavily influenced
by Scott and Stalling is John Zorn.
Jason
Jason Michael
"Brian Rost" <ro...@stargen.com> wrote in message
news:3E529E39...@stargen.com...
> > Somebody wrote, "I would have never guessed that fans of cartoons and
> > free jazz had much in common..."
>
> The guy who created Ren and Stimpy (forget his name) was a blues bassist
> down in Austin, TX.
>
John Kricfalusi, who created Ren and Stimpy, is from Ottawa, Ontario,
Canada. I don't think he played bass in Austin.
> Gary Larson who drew "The Far Side" is an amateur jazz guitarist. He
> once drew an album cover (for Herb Ellis, I think) in return for some
> lessons!
>
Larson did the cover for Ellis's 1988 album "Doggin' Around".
Jason
nobody
>
> This might be, but is it possible you are confusing him with Gary
> Larson, creator of the "The Far Side"?
Yes, my mistake.
Ira Chineson
"void" <fl...@parhelion.firedrake.org> wrote in message > Such a nattering
nabob of negativity you are. I'm sure Groening would
> be thrilled to hear that he's been paid millions, though he might
> be disappointed when he learned that those millions were nothing more
> than the figment of a Usenetter's fevered imagination.
>
I have no opinion as to what he should do with his money, but I think it's
reasonable to assume that as creator and producer of a popular TV show
that's been on the air since the early 90s and that is constantly running
in syndication all around the world, Groening has made several million
dollars for his efforts.
Warren Senders
The sketchbook kept by the female lead in "Ghost World" was
actually drawn by Sophie Crumb, Bob's daughter.
WS
Kramer
"several million" is an understatement
Joseph Scott
in Bleeding Gums. He seems consistently constructed from just a
handful of simplistic stereotypes about jazz musicians, which makes me
doubt that the creators of the show (of whom Groening is only one) are
all that interested in jazz. An actual parody of Sonny Rollins (or
whoever) might be interesting and funny, but taking a boringly famous
anecdote about that great man out of context and associating it
with... a guy who shuffles around and doesn't take care of his health,
hmmm.
Apu and Flanders and the doctor and the bartender have actual
personalities, imo. Bleeding Gums could have had one too, but imo he
mostly just represents "otherness."
Joseph Scott
kurt
tears to my eyes.
http://catalog.com/mrm/zappa/images/lih.jpg
Kurt
"Joshua A. Solomon" <J.A.S...@city.ac.uk> wrote in message news:<BA790CDF.59C%J.A.S...@city.ac.uk>...
> On 18/2/03 12:50 pm, in article 180220030650086250%he...@eskimau.invalid,
> "Herb Levy" <he...@eskimau.invalid> wrote:
>
> > Matt Groening, who originated the series, has a much wider range of
> > musical interests than might be apparent to casual viewers of the TV
> > show, which often has guests who are more visible in pop culture.
> >
Sum1
"Guy Berger" <guy.b...@yale.edu> wrote in message
news:8ab189a1.03021...@posting.google.com...
Are we playing a game here?
Sum1
Then why is the audience for one so much larger than the other? Most
probably because one is less off the beat than the other.
Guy Berger
> > Ornette is not free jazz.
>
> Are we playing a game here?
No. Any definition of "free jazz" that includes his classic quartet
recordings would also include a lot of other recordings that most
people would not consider to be "free jazz".
Perhaps you haven't heard much of his music?
Guy
void
>
> Then why is the audience for one so much larger than the other? Most
> probably because one is less off the beat than the other.
The Simpsons is like _Alice In Wonderland_. Both speak to their
audience on several levels; both offer ample rewards to anyone who
wanders by, and both really open up to those who catch the internal
and external references.
I suppose it's no accident that both have been annotated:
http://www.amazon.com/exec/obidos/tg/detail/-/0060516305/
http://www.amazon.com/exec/obidos/ASIN/0393048470/
void
>
> That's because the director of "Ghost World", Terry Zwigoff, was a member of
> the Cheap Suit Serenaders. Zwigoff, as you may already know, made the
> excellent documentary "Crumb".
Yes, a couple of my friends appear in it.
PRProf
>tears to my eyes.
>
>http://catalog.com/mrm/zappa/images/lih.jpg
Thanks, man; I just printed that out for my office wall. How'd you happen to
keep that around? Zappa was one of my faves; I think he was one of the great
musical geniuses of all time. (Not necessarily an opinion shared by this
group.)
Bill
Kwami Fabu
<he...@eskimau.invalid> wrote:
>"Marc Sabatella" <ma...@outsideshore.com> wrote in message
>news:<vPi4a.731$Iz6.2...@news.uswest.net>...
>> "PRProf" <prp...@aol.com> wrote:
>>
>> > I agree completely Ornette just stood there, apparently to receive an
>> honor
>> > from the Kennedy Center, then bowed to Lisa Simpson, saying "We're not
>> worthy."
>> > But it was a dream Lisa was having.
>>
>> Was he actually identified as Ornette Coleman, or was it just a
>> likeness?
>>
>
>Matt Groening, who originated the series, has a much wider range of
>musical interests than might be apparent to casual viewers of the TV
>show, which often has guests who are more visible in pop culture.
>
>He's written several articles over the years about music (unfortunately
>I don't have any references at hand) and usually includes composers
>like Messiaen & Partch, as well as many jazz composer/performers.
He sprinkles The Simpsons with all kinds of
pop-culture references, many quite obscure. Films
are a particular source of inspiration: Groening
seems to have a special fondness for the films of
Stanley Kubrick. Dr. Strangelove, 2001: A Space
Odyssey, A Clockwork Orange, The Shining ("The
Shinnin') and Full Metal Jacket figure prominently
in a number of episodes.
Groening turns one entire show into a 2001 homage,
where Homer is sent into space (he chases spilled
bag of potato chips in zero gravity to the "Blue
Danube Waltz"), and becomes the Starchild of the
film's finale, complete with the now-ubiquitous
"Thus Spake Zarathustra". One of the early
Halloween specials has Homer assuming the Jack
Nicholson role in The Shining -- being deprived of
beer he goes insane.
My favorite is probably the "Dog of Death" episode
when Santa's Little Helper runs away into the
hands of Mr. Burns, whose training is canine
version of the Ludovico Treatment., right out of A
Clockwork Orange. The dog's eyes are clamped open
and is forced to watch films of dogs being beaten
and kicked.
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
KFabu
"No matter where you go, there you are."
Mark Bradley
> >http://catalog.com/mrm/zappa/images/lih.jpg
Zappa was one of my faves; I think he was one of the great
> musical geniuses of all time. (Not necessarily an opinion shared by this
> group.)
I'd tend to agree with you, for one.
If I was to pick one Zappa album to recommend it be the amazing "The
Best Band You Never Heard In Your Life" from around 1986. This IS a
great band and Zappa at his zenith (he became ill not long after
this)-- all recoreded live, no overdubs. A musical tour-de-force.
Sum1
"Guy Berger" <guy.b...@yale.edu> wrote in message
news:8ab189a1.03021...@posting.google.com...
> "Sum1" <shridurga@-spamoff-yahoo.com> wrote in message
news:<b314tq$t9u$1...@nwall1.odn.ne.jp>...
> > "Guy Berger" <guy.b...@yale.edu> wrote in message
> > news:8ab189a1.03021...@posting.google.com...
>
> > > Ornette is not free jazz.
> >
> > Are we playing a game here?
>
> No. Any definition of "free jazz" that includes his classic quartet
> recordings would also include a lot of other recordings that most
> people would not consider to be "free jazz".
>
> Perhaps you haven't heard much of his music?
>
> Guy
Not much, no.
But your reply seems like the first shot in another round of "what is _real_
jazz?"
Sum1
LA Times
TELEVISION
The real first family
How did "The Simpsons" get to be such a cultural touchstone? We meet the
enemy - and they are us.
By Bob Baker, Times Staff Writer
If life were a journey -- oh, wait, life is a journey. OK, start over. In
the journey that we call life, it would be swell to be able to take two or
three steps without tripping over a certain animated show that -- ouch! --
has embedded itself so deeply into popular culture that -- ouch! -- all of
us are expected to get every conversational reference its fans throw at us.
You know what I'm talking about: Homer and Marge and their kids and his evil
boss and her hostile sisters and the pious next-door neighbor and the four
dozen others. Don't you get tired of the assumption that you should know
these characters? Aren't you sick of the way so many people use a moment
from "The Simpsons" as a metaphor for real life? Isn't it like living in a
society that adopted Esperanto without letting you vote? Have we lost so
many vestiges of mass culture that a TV show -- a cartoon! -- has to be the
glue that holds postmodern society together? And whom should we blame?
Follow me.
Let's go, first, to Wisconsin, to Public Enemy No. 1. His name is Jonathan
Suttin, a 34-year-old disc jockey in Madison, a university town, the kind of
"Simpsons"-acculturated place where Homer might as well be the dean.
Suttin, who became addicted to the show from the instant it debuted on Fox
in 1989, is the kind of guy who has a "Simpsons" anecdote for any situation.
Suppose a buddy tells him he's courting a woman who brushes him off -- until
he hooks up with another woman. "That reminds me," Suttin will tell his
friend, "of the episode when Lisa is trying to explain to Bart that people
want what they can't have. So Maggie is in her playpen, and Lisa says to
Bart, 'Maggie is playing with her little stuffed animal and not interested
in that red ball. But the moment I take the red ball out, Maggie will want
it.' Then Lisa holds the ball up, and Bart starts saying, 'Gimme the ball!
Gimme the ball!' "
You're supposed to know that Lisa is the gifted second-grader and Bart is
the bratty fourth-grader and Maggie is the toddler. You're supposed to know
this even if you're not one of the 14 million people who tune in every
Sunday night. Look at them, smugly preparing their celebrations for tonight
as "The Simpsons" airs its 300th episode, relentlessly marching toward
overtaking "The Adventures of Ozzie & Harriet" as America's longest-running
TV comedy. Did anybody's cultural literacy in the '50s depend on knowing
what Ricky said to David in Episode 8 from Year 9?
You don't get it, says Charlene Dellinger-Pate, a communications professor
at Southern Connecticut State University, who is preparing a class on "The
Simpsons" for the fall. She's Public Enemy No. 2 for her belief that moments
like the one Suttin described are deep and special: examples of "symbolic
relational culture" -- moments when two people's appreciation of a shard of
television fuses them in an intimate way. Dellinger-Pate, who was not a
"Simpsons" fan until she married one, volunteers a line she continually
shares with her husband, from an episode in which Homer befriended a lobster
that, by show's end, he cooked and ate.
Experts like Dellinger-Pate contend that no TV show has ever generated as
many conversational touchstones (sorry, "Seinfeld"). One thing's for sure:
No TV show has ever generated as many excuses for "Simpsons"-loving
academics to use the characters as reference points, secure in the belief
that most of their students have watched the show since elementary school.
Which brings us to Public Enemy No. 3: Brad Prager, a professor of German
studies at the University of Missouri-Columbia, whose colleague walked into
his office the other day looking for ideas on how to introduce philosopher
Friedrich Nietzsche's ideas in a general-ed course. Prager suggested using
Bart's persistently bad behavior. The boy and at times Homer "seem to act in
accordance with Nietzsche's position that both society's laws and religion's
morality are artificial constructs, better suited to earlier, more barbaric
stages of human development," Prager explained.
Of course, the prof had an episode in mind: "Homer has a crayon removed from
his brain and finds himself suddenly smart enough to be a member of Mensa
and proves to Ned Flanders that God doesn't exist, a proclamation similar to
the one 'God is dead,' for which Nietzsche was most famous."
Prager's soul mates are everywhere. A group of philosophy professors
published a book in 2001 on the show's representations of great thinkers.
("Marge typically follows the Aristotelian recipe for a happy, moral life.")
The same year, a newspaper's religion writer published a book on the many
ways the show incorporates religion into its withering view of society.
Another academic has written a book due this summer about "The Simpsons" as
"oppositional culture."
Literary scholars probe Homer as a classic Shakespearean clown in the model
of Falstaff in "Henry IV, Part I." Psychologists can show you where Homer
practices "impression management." (Homer takes a new job and his boss says:
"Having a place like this has always been my dream, Homer. What's your
dream?" Homer answers: "Uh, to work for you?")
Even the purity of mathematics has been compromised, most notably by Public
Enemy No. 4, Andrew Nestler of Santa Monica College, and Public Enemy No. 5,
Sarah Greenwald of Appalachian State University in North Carolina, who for
years have been giving presentations on using "The Simpsons" to teach math
lessons. They say they have charted more than 100 "mathematical moments" in
the show. Greenwald's favorite: When Marge and Homer visit a school for
gifted children, they pass two girls playing patty-cake while chanting
digits of pi:
Cross my heart and hope to die
Here's the digits that make pi
3.14159265358979....
A national institution
Kimberly Blessing, who co-taught a course on philosophy and religion at
Siena Heights University in Michigan that employed "Simpsons" characters,
doesn't want to come off as a kids-don't-read-anymore curmudgeon but says
it's simply harder these days to find literary references that work when
you're teaching an abstract subject like philosophy. "What do we talk about?
It is a real challenge in the classroom."
And therein lies the secret to the conspiratorial way "The Simpsons" has
burrowed into every crevice of so many people's lives, particularly the
young. (Nearly two-thirds of its viewers are 34 or younger.) In a fragmented
culture, where term limits mean politicians leave every few years and free
agency means sports heroes leave town even more frequently, "The Simpsons"
has become one of America's most burnished institutions. Not only is the
show still here, the characters are frozen in time.
The show is a kind of a Washington tide pool in which visitors see their
most cherished, idiosyncratic values reflected. To a young Argentine film
student visiting San Francisco for a few months, "The Simpsons" means
kinship: When he walks into a supermarket and sees a 64-slice package of
American cheese, he laughs because he's seen an episode in which Homer
devours all 64 slices. To an organization of skeptics opposed to
pseudo-science, "The Simpsons" is desperately needed validation: When the
show does a send-up of "The X-Files," the organization publishes an
elaborate review in its magazine as though "Nightline" were on its side. To
the traditionalist National Review, "The Simpsons' " ability to litter each
episode with history, literature and science is evidence that America's
intellectual traditions are safe. To some parent groups, the fact that Marge
and Homer love each other (Homer most notably almost died working two jobs
in a doomed effort to buy Lisa a pony) makes "The Simpsons" a pro-family
anthem. To the politically disaffected, it's the only show in which Bill
Clinton and Bob Dole would both turn out to be space aliens.
There are so many reruns -- three an evening in Southern California, from
the first 13 seasons -- layered with so many levels of meaning that a
teenager can watch the same episode once a year and discover something new
every time.
"Simpsons" zealot Rosie Parra of Wilmington, a junior at Hamilton High in
West Los Angeles, remembers how one funny moment crystallized when she
learned the word "irony." "It's the episode where a toy company takes over
the school and Lisa has to write on the blackboard over and over, 'I will
not do math in class.' [Normally Bart is the one disciplined at the
blackboard.] And Bart is saying, 'The ironing is delicious.' "
Matt Rose, a 25-year-old musician from Wisconsin, says the show's consistent
disrespect for authority shaped his sensibilities as a teenager: "They don't
trust anybody ... all the politicians are crooked, the cops, the pastor, the
entertainers. It's probably gone too far because now I look at everybody
that way."
Fortunately, Rose found a young woman, Tammy Hocking, who feels the same
way. He found her on a "Simpsons" Web site. She lived in Australia. They
chatted online for three years, then she came to the U.S., and they flew to
L.A. to successfully plead for a tour of the show's creative facilities.
They settled Down Under, married in a ceremony in which the cake had
"Simpsons" figurines, and bride and groom danced their first dance to Randy
Newman's "I Love to See You Smile," sung by Homer and Marge's voices from
"The Simpsons Sing the Blues" CD.
There are hundreds of thousands (almost) like them: The guy in Seattle who
took the NCAA's 64-team basketball tournament structure and created a
playoff between 64 "Simpsons" characters. The Ohio columnist who argued in
1,500 words of disturbing detail that the Simpsons' hometown of Springfield
(no state is ever designated) was modeled after Akron. The actor who tours
the country performing "Hamlet" as "MacHomer" in the voices of 50 "Simpsons"
characters. ("Is this a dagger which I see before me, or a pizza? Mmmm,
pizzaaa.")
It's hard to know how harshly to judge these public enemies, since they can
always claim to have been the victims of historical forces. "The Simpsons"
caught America at a vulnerable moment. Cable was making television more
competitive. The formation of new networks such as Fox made programmers,
especially those courting the young, willing to gamble. The fact that an
animated series hadn't been in prime time since "The Flintstones," which
went off the network during the Johnson administration, made the concept
even more novel.
The nation's very sense of humor was changing, entering an era in which wry
observation was replacing a tradition of more direct communication. A key
moment was David Letterman's shift to late night in 1982, said Robert
Thompson, director Syracuse University's Center for the Study of Popular
Television in New York. Letterman's success spread his style of ironic
comedy into the mainstream, preparing the audience for a "Simpsons"
worldview.
"Remember, in 1980 the state-of-the-art cop show was 'CHiPs' and the
state-of-the-art doctor show was 'Trapper John,' " Thompson said. To have
introduced "The Simpsons" in that climate "would have been like hanging up
the 'Mona Lisa' in a kindergarten class with all the kids' other paintings."
It helped that the material was brilliant. Thompson, past president of the
International Popular Culture Assn., says that "three centuries from now,
English professors are going to be regarding Homer Simpson as one of the
greatest creations in human storytelling....Like Job, the world keeps
delivering blows to him and all he needs is the promise of another
doughnut."
Director-producer James L. Brooks ("Broadcast News"), who along with
writer-director Sam Simon ("Taxi") and cartoonist Matt Groening created the
show, laughs off the idea that anyone could have predicted what happened.
"You'd want to shoot the guy who 'planned' this" because to predict such a
level of success was unfathomable, Brooks said. "None of the plans kept on
being the game plan. It became its own little beast ... it took its own
shape and we were following rather than leading." Talk about the way the
show has seeped into pop culture and Brooks shakes you off, determined to
avoid any sense of self-importance. He likes the idea of a happy accident:
"There's a lot that we can't explain."
Some longtime fans have been complaining for years that the show is going
downhill, that it has become too Homercentric, too reliant on his irrational
behavior and appearances by celebrities. The show tweaks these fans by
occasionally showing a character, Comic Book Guy, getting irked at one of
Homer and Bart's favorite cartoon shows, "Itchy and Scratchy," curtly
dismissing it as the "worst episode ever."
For every older fan who bails, there seem to be newer ones discovering the
show. It's the best-rated regularly scheduled network series among teens
(70% of those "Simpsons" viewers are boys) and men 18 to 34, and ranks in
the top 20 among total viewers. Last month, Fox signed a two-year deal that
will allow "The Simpsons" to pass "Ozzie & Harriet" in its 16th season. The
network and the show's creators have profited not only from residuals, but
also from scores of marketing deals that flooded us with everything from a
Simpsons chess set to a talking-Homer beer-bottle opener. Plaudits cascade:
"D'oh" is in the Oxford English Dictionary, and Time magazine has declared
the series the best TV show ever. Most improbably, the pretentious James
Lipton played host to six of "The Simpsons" actors on the Bravo channel's
"Inside the Actors Studio" last week.
The ties that bind
Mark Pinsky, the Florida journalist whose book on the show's myriad
religious allusions has sold 100,000 copies, was going to be the final
public enemy, but I used to work with Pinsky at The Times, and it turns out
he's one of these fans who started out suspicious of the show. Determined to
protect his kids from its rude overtones, he sat down to monitor it and
became hooked.
What he eventually realized he was watching, Pinsky said, was "a show that
makes cynicism and skepticism safe" for masses of Americans who feel
betrayed by various institutions and need a way to vent. The Simpsons are
trapped in the web of consumerism that traps most middle-class families --
often suckered by it -- yet recognize their plight. What binds them, Pinsky
says, is their commitment to being a family. "The viewer can't write them
off because they're just like the viewer."
I thought about that, about how much more complex that is than anything else
on TV. And then I thought about that special moment from the show that the
Connecticut professor, Charlene Dellinger-Pate, told me about, when Homer --
perpetually torn between id and responsibility and unfailingly choosing
id -- is eating the lobster, Pinchy, who'd become his friend.
"Homer's crying," Dellinger-Pate said. "He's saying, 'You know who would
love this? Pinchy!' So, sometimes when my husband and I are out and we're so
happy to be having some private time away from our daughter, one of us will
say, 'You know who would love this? Gracie!' "
I laughed, and I thought about a moment from the old "Rocky and Bullwinkle"
Saturday-morning cartoon series that my wife and I have been tossing back
and forth forever. (In certain moments of celebration, we remember the way a
suddenly muscular Dudley Do-Right looked in a mirror and realized, "I'm not
puny.") A wave of symbolic-relational-culture compassion washed over me, and
I released Dellinger-Pate and the other public enemies from censure, knowing
that were I ever to change my mind, I could round them up tonight at 8.
Times researcher Penny Love contributed to this story.
kurt
for Life In Hell & Zappa.
prp...@aol.com (PRProf) wrote in message news:<20030220014916...@mb-fh.aol.com>...
Mike C.
the '80's with Pat Metheny, it most certainly was very much free jazz.
Mike C.
covers.
"Brian Rost" <ro...@stargen.com> wrote in message
news:3E529E39...@stargen.com...
> > Somebody wrote, "I would have never guessed that fans of cartoons and
> > free jazz had much in common..."
>
> The guy who created Ren and Stimpy (forget his name) was a blues bassist
> down in Austin, TX.
>
> Gary Larson who drew "The Far Side" is an amateur jazz guitarist. He
> once drew an album cover (for Herb Ellis, I think) in return for some
> lessons!
>
void
>
> [...]
> The actor who tours the country performing "Hamlet" as "MacHomer" in
> the voices of 50 "Simpsons" characters. ("Is this a dagger which I see
> before me, or a pizza? Mmmm, pizzaaa.")
Kind of funny for an article that pretends to decry the TV-centrism of
mass culture.
Guy Berger
> > Perhaps you haven't heard much of his music?
>
> Not much, no.
You should check out The Shape of Jazz to Come -- a wonderful album
and (by today's standards) surprisingly "straight ahead".
Guy
Richard Thurston
wrote:
>Larson drew the cover for Jim Hall's book, along with one of his album
>covers.
>
>
Did the cover for Bill Frisell's 'Quartet' as well.
Richard Thurston
tomw
guy.b...@yale.edu says...
--
Tom Walls
the guy at the Temple of Zeus
http://www.arts.cornell.edu/zeus/
Nou Dadoun
And unknowingly for Willem Breuker's release Bob's Gallery; the first
time the Kollektief came to town, they were in support of Bob's
Gallery which has a Larson graphic on the cover. We were sitting
backstage and someone asked Breuker how he managed to convince Larson
to let them use one of his cartoons and Breuker's response was "you
know this guy?" Up until showtime, a bunch of us sat backstage
putting Kollektief stickers over the cartoon on the LP.
I assume that he got it approved eventually since it was eventually
released on CD with the same cartoon.
_-------------------------------------------------> Nou
====
Nou Dadoun | dad...@cs.ubc.ca | Black Swan Records,
Dpt. of Computer Science,|*******************| 3209 W. Broadway,
Langara College, Vancouver, BC, V6T 1W5 | Vancouver, BC, V6K 2H5
(604) 323-5822 | http://www.blackswan.bc.ca | (604) 734-2828 / 734-2899 [FAX]
Ebay seller:blackswanrecords; Current online auctions linked from our web page.
Marc Sabatella
> Ornette is not free jazz.
Well, that's a pretty broad statement. Much of what he does is not as
free as much of what others do, to be sure, but almost everything has
some elements of freedom - freedom from chord structures, most
obviously.
--------------
Marc Sabatella
ma...@outsideshore.com
Check out my latest CD, "Falling Grace"
Also "A Jazz Improvisation Primer", Sounds, Scores, & More:
http://www.outsideshore.com/
Dan Given
news:t6ea5v8sgd9gji9fa...@4ax.com...
I vaguely remember a one-off Far Side television special that had a score by
Frisell. All I remember was it being very disappointing (the show itself,
not Frisell who I don't like anyway so could never be disappointed).
Dan
Marc Sabatella
> Not much, no.
>
> But your reply seems like the first shot in another round of "what is
_real_
> jazz?"
No, I think you're reading that into the comment. The discussion about
what constitutes "free jazz" has been going on a *lot* longer than the
discussion about whether "smooth jazz" is "real jazz" or not - in fact,
it's been going on for at leats a couple decades longer than "smooth
jazz" has been in existence.
Marc Sabatella
> I vaguely remember a one-off Far Side television special that had a
score by
> Frisell. All I remember was it being very disappointing (the show
itself
Likewise, except for a fantastic little bit about a couple of guys who
go off driving to their favorite hunting spot, catch a deer in their
headlights, shoot it while it looks back at them mesmerized, and drive
off with the deer tiepd to the roof; then they happen upon a flying
saucer, with flashing lights, causing them to look at it mesmerized;
next thing we see is the saucer flying off with the two hunters tied to
the roof.
Joachim Pense
> "Sum1" <shridurga@-spamoff-yahoo.com> wrote in message
> news:<b2tevt$249f$1...@nwall2.odn.ne.jp>...
>> I would have never guessed that fans of cartoons and free jazz had much
>> in common but that's what makes life interesting, isn't it?
>
> Ornette is not free jazz.
He coined the word, didn't he?
Joachim Pense
> In article <8ab189a1.03022...@posting.google.com>,
> guy.b...@yale.edu says...
>>
>> You should check out The Shape of Jazz to Come -- a wonderful album
>> and (by today's standards) surprisingly "straight ahead".
>>
>> Guy
>>
> Yeah, but that's what they were calling "Free" back then.
And what do you want to call it now? "Bondage and Discipline Jazz?"
Joachim
tomw
online.de says...
Fabio Rojas
>> Ornette is not free jazz.
>
>He coined the word, didn't he?
Remember, this is the guy who released an album called "Free Jazz" featuring
over forty minutes of freely improvised music from a double quarted
(two horns, two drums, basses).
Dood, if that ain't free...
Fabio
Joachim Pense
> In article <b3bf3f$m1p$00$3...@news.t-online.com>,
>>> Ornette is not free jazz.
>>
>>He coined the word, didn't he?
>
> Remember, this is the guy who released an album called "Free Jazz"
> featuring over forty minutes of freely improvised music from a double
> quarted (two horns, two drums, basses).
As I said, coined the word.
Joachim
still...@webtv.net
bird over islands in the sea, now I use Homer's description - soaring,
like a candy wrapper caught in an updraft.. ......mmmmm.....candy
Sneakerface
some appreciation of jazz, as folks have clearly pointed out the
evidence in this thread. Apparently that's not good enough for one of
the posters here - the snide comments are quite unnecessary.
Groening became wealthy because he was talented, and people
appreciated, and continue to appreciate his creativity. He gave
something to thinking folks who didn't go along with the mainstream -
like a lot of jazz artists and affectionados here - and it has become
mainstream as it has gathered steam.
Groening did have a band, but it was (don't know if it continues)
more of a garage type, for fun band, as I understand it - though they
may have played out. I think it included some other celebrities, like
Stephen King, for one.
Another jazz moment in the Simpsons was when Homer realized he'd
been ignoring his daughter Lisa and needed to pay more attention to
her. So he hired a detective (!) to find out what her interests and
likes were. He surprised her by purchasing and playing her favorite
album, Miles Davis' "Birth of the Cool."
Frank Zappa was a true musical genius, and I think folks in this
newsgroup are fairly hip to that, even if they don't all personally
have a Zappa colletion.
PRProf
>newsgroup are fairly hip to that, even if they don't all personally
>have a Zappa colletion.
Au contraire, my rmb friend...I have a massive Zappa collection going back to
1965 and including "200 Motels." He was a true musical genius...and I run the
gamut inmy collection from Adderly to Zawinul....
Bill
Jason Michael
"Sneakerface" <n9...@earthlink.net> wrote in message
news:341c19a6.03030...@posting.google.com...
> Matt Groening is clearly an intensively creative guy, and he does have
> some appreciation of jazz, as folks have clearly pointed out the
> evidence in this thread. Apparently that's not good enough for one of
> the posters here - the snide comments are quite unnecessary.
> Groening became wealthy because he was talented, and people
> appreciated, and continue to appreciate his creativity. He gave
> something to thinking folks who didn't go along with the mainstream -
> like a lot of jazz artists and affectionados here - and it has become
> mainstream as it has gathered steam.
> Groening did have a band, but it was (don't know if it continues)
> more of a garage type, for fun band, as I understand it - though they
> may have played out. I think it included some other celebrities, like
> Stephen King, for one.
His band was The Rock Bottom Remainders, and they published a book about
themselves. It included (at various times-not all at once!) Groening, Dave
Barry, Tad Bartimus, Roy Blount Jr., Michael Dorris, Robert Fulghum, Kathi
Goldmark, Josh Kelly, Stephen King, Barbara Kingsolver, Al Kooper, Greil
Marcus, Dave Marsh, Ridley Pearson, Jerry Peterson, Joel Selvin ,Amy Tan and
Jimmy Vivino. They played early- 60s girl group and R&B songs.
> Another jazz moment in the Simpsons was when Homer realized he'd
> been ignoring his daughter Lisa and needed to pay more attention to
> her. So he hired a detective (!) to find out what her interests and
> likes were. He surprised her by purchasing and playing her favorite
> album, Miles Davis' "Birth of the Cool."
>
Fox repeated this episode last night and I couldn't tell which song Homer
was playing from the LP. Did anyone notice which cut it was?
Jason
Kramer
Groening became wealthy because he was talented, and people
> appreciated, and continue to appreciate his creativity. He gave
> something to thinking folks who didn't go along with the mainstream -
> like a lot of jazz artists and affectionados here - and it has become
> mainstream as it has gathered steam.
Yeah now he's selling candy bars, breakfast cereal and god knows what
else and his TV show has become a bore, but as long as he slips in
those hip references he'll forever be the darling of self-involved
pseudo bohos who cream in their Dockers whenever they recognize those
oh-so-knowing references.
Jason Michael
"Kramer" <slowdr...@yahoo.com> wrote in message
news:f0e72a3.03030...@posting.google.com...
Actually, Fox owns the characters and uses them to hawk all that
merchandise. Not that I think he's not benefitting from those licensing
deals, but I don't believe he has much say in whether the Simpsons are
representing Butterfinger or not.
And even as a pale shadow of itself, the show is still better than 95% of
the shows on the air.
Jason
Guy Berger
> "Guy Berger" <guy.b...@yale.edu> wrote:
>
> > Ornette is not free jazz.
>
> Well, that's a pretty broad statement. Much of what he does is not as
> free as much of what others do, to be sure, but almost everything has
> some elements of freedom - freedom from chord structures, most
> obviously.
Agreed. And from time to time he's appropriated other elements as
well. Let me reduce the hyperbole in my statement: with a few notable
exceptions, Ornette's music is not free jazz. Unless you are willing
to lump guys like Andrew Hill and Charles Mingus, as well as the 60s
Miles Davis Quintet, into that category as well.
Guy
Marc Sabatella
> Yeah now he's selling candy bars
As I recall, he was doing this before he had his own TV show - the
Simpsons per se started as a series of vignettes on the
not-so-widely-seen Tracy UIlman show on HBO (or was it Showtime?) and
only started getting a wider audience through the Butterfinger
commercials. His own show came later, did it not?
Of course, I also recall "Waters of March" being used in a Coke
commercial back in the 70's or early 80's ("A Coke, a smile..."), and
everyone else tells me I'm crazy.
Glenn Wilson
> Simpsons per se started as a series of vignettes on the
> not-so-widely-seen Tracy UIlman show on HBO (or was it Showtime?)
Actually, IIRC, it was Fox. One of their first successes.
Glenn
www.jazzmaniac.com
Alan Young
<ma...@outsideshore.com> wrote:
>
> Of course, I also recall "Waters of March" being used in a Coke
> commercial back in the 70's or early 80's ("A Coke, a smile..."), and
> everyone else tells me I'm crazy.
"You're crazy, Marc."
This might be the only chance I get for years to be just like "everyone
else", so I couldn't turn it down. I actually have no opinion about
Jobim on coke, or vice versa. 8-)
--
Alan
http://www.hummingbear.net/~aayoung/
I dreamed of a life that was pure and true
I dreamed of a job only I could do...
---Monk's Dream
Marc Sabatella
> Let me reduce the hyperbole in my statement: with a few notable
> exceptions, Ornette's music is not free jazz. Unless you are willing
> to lump guys like Andrew Hill and Charles Mingus, as well as the 60s
> Miles Davis Quintet, into that category as well.
There are indeed elements of freedom in the music of the folks you
mention, but I would still say there is a difference. For instance, you
really won't find much in Mingus where improvising is not based on a set
chord progression. I think the jury is out on the extent to which
Miles' band kept the form on some of their recordings; there are maybe a
total of half a dozen tracks that are in the same class as Ornette's
most structured music. Hill most definitely has made music that is as
free as your average Ornette recording, although he was developing ideas
having to do with compositional form earlier and at a deepter level than
Ornette.
Fabio Rojas
>well. Let me reduce the hyperbole in my statement: with a few notable
>exceptions, Ornette's music is not free jazz. Unless you are willing
>to lump guys like Andrew Hill and Charles Mingus, as well as the 60s
>Miles Davis Quintet, into that category as well.
> Guy
I am not sure what definition you use, but Ornette is probably more "free"
than Hill, Mingus or 60's Miles. For example, all of these musicians used some
kind of harmonic progression in their music. I've seen transcriptions of
Ornette's solos, and it seems that he will wander from one key
to another at will. He also doesn't build his solos around 8, 16 or 32
bar strcutures. A phrase might really be about 3 1/2 bars long, or 14, or
whatever. The musicians you describe still adhere to chord progressions
and cycles of bars that define the length of solos, although many
of them would occasionally abandon the structure.
I think Ornette's genius is that he abandons much formal structure
but he still sounds thoroughly logical. His musical sense
is so powerful, so refined that you can't tell that there is no fixed tonal
center, or that he regularly violates the rhythmic and temporal rules
of jazz.
Fabio
Allen Michie
--Allen Michie
"PRProf" <prp...@aol.com> wrote in message
news:20030218233736...@mb-fh.aol.com...
> >Was he actually identified as Ornette Coleman, or was it just a
> >likeness?
>
> The cartoon character was identified as "Ornette Coleman," and came on
stage to
> receive a Kennedy Center award; it was Lisa's dream.
>
> Bill
Alan Young
<ami...@iastate.edu> wrote:
> Why hasn't Ornette won a Kennedy Center Honors award yet in real life??
The current issue of AARP magazine has a feature on the 50 most
influential Americans over 50 years old [current age]. It includes
three musicians: Bob Dylan, Terry Riley, and Ornette Coleman.
I thought this showed very sophisticated taste.
--
Alan
http://www.hummingbear.net/~aayoung/Jazz/jazz.html
JW Moore
>In article <b4o5io$2so$1...@ins22.netins.net>, Allen Michie
><ami...@iastate.edu> wrote:
>
>> Why hasn't Ornette won a Kennedy Center Honors award yet in real life??
>
>The current issue of AARP magazine has a feature on the 50 most
>influential Americans over 50 years old [current age]. It includes
>three musicians: Bob Dylan, Terry Riley, and Ornette Coleman.
>I thought this showed very sophisticated taste.
>
Hard to argue with Dylan, but do they know that Sonny Rollins is still alive? He was a
huge influence on Coltrane, who in turn was a huge influence on Riley. I love Ornette, and
he certainly helped push Sonny in the free direction, but he'd probably be the first to
acknowledge Sonny's pivotal role in shaping jazz in the post-Parker era. I'd probably put
Horace Silver over Ornette also. Gotta look hard at Herbie Hancock as well...
But no... Sonny is the one true living link to the Golden Era of bebop.
~~Jack
Joseph Scott
Teddy Edwards is not a true living link to the Golden Era of bebop?
Joseph Scott
John Powell
----------
In article <3e71c3a6...@netnews.worldnet.att.net>, ja...@hotmail.com
(JW Moore) wrote, in part:
>
>But no... Sonny is the one true living link to the Golden Era of bebop.
>
>~~Jack
I don't think Max Roach, James Moody and Teddy Edwards are dead yet, are
they?
They seem like pretty strong links to me, and I may have forgotten
others, as you have...
John
John Powell
----------
In article <a2d52481.03031...@posting.google.com>,
j_ns...@msn.com (Joseph Scott) wrote:
Yes, Joseph, and he also forgot about James Moody and Max Roach(!!!).
tomw
johnp...@mindspring.com says...
Steve Carras
Are you THE John Powell, the one who did the music for I AM SAM and
(true to the much-mentioned Norah Jones issue hereon) TWO WEEKS
NOTICE?(not to mention part of SHREK).
John Powell
----------
In article <8c311548.0303...@posting.google.com>, gca...@aol.com
(Steve Carras) wrote:
>Are you THE John Powell, the one who did the music for I AM SAM and
>(true to the much-mentioned Norah Jones issue hereon) TWO WEEKS
>NOTICE?(not to mention part of SHREK).
Awww, I'm busted...
JP
John Powell
Tom Walls, you wrote, in part,
>And what about the Heath brothers, and Barry Harris, and Jackie Mac...
>--
I think of them as part of the second wave, which included Horace
Silver, Art Blakey, Clifford Brown and others. Max, Teddy and Moody were
part of the earlier bebop generation.
JP
tomw
johnp...@mindspring.com says...
Joseph Scott
> Silver, Art Blakey, Clifford Brown and others. Max, Teddy and Moody were
> part of the earlier bebop generation.
>
>
> JP
Blakey too, his earliest playing on boppish records was right about
the same time as Edwards and Roach, about '44-'45.
Edwards was in the first bop band on the West Coast: the man was an
influence _on_ early Dexter Gordon! Barney Kessel's still living, Roy
Haynes... there must be quite a few.
Joseph Scott