Word: joe
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Dates: during 1960-1969
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...EVEN A Joe Friday, equipped with a college education and all the sensitivity-training the Los Angeles Police Department can offer, would probably find pounding a beat on the hostile streets of Watts a frustrating experience. After reading Varieties of Police Behavior, one might even guess that Friday would cause more friction there than would the proverbial Irish cop with a parochial grade school education...
That's why, for the most part, the Joe Fridays in the nation's police departments operate out of the detective bureaus, taking care of what James Q. Wilson terms "law enforcement"--the job of solving felony cases such as homicide and grand larceny. Most of these cases have a clearly defined object--catching the criminal--which challenges the tough, analytical minds of the Fridays...
...enjoy the neat guidelines of the detective; "disorderly conduct," "creating a public nuisance," and other laws used to maintain order leave the patrolman with an enormous amount of discretion since few justices can define order in specific terms or say what annoys the people of a given neighborhood. If Joe Friday were pounding the pavement, he'd have to spend more time learning the personalities and trouble-making potential of the people on his street than poring for hours over the book. The law only provides the patrolman with names of charges to use if an arrest is made...
EDDIE HARRIS, PLUG ME IN (Atlantic). An electric tenor saxophone? The idea may offend jazz purists, but rock fans will get a charge out of this easygoing soul session. With capable backing from such musicians as Jimmy Owens and Joe Newman, Harris uses his extra go-power to create warmth and depth. The set gets off to a rolling, sinew-stretching start on Live Right Now, a down-home boogaloo. Harris plays with heavy-throated gentleness on the bluesy Ballad (For My Love), and with a dulcet, flowing tone on Winter Meeting. There's just a bit of metallic...
ELVIN JONES, PUTT'N' IT TOGETHER (Blue Note). Drummer Jones, who played with the late John Cohrarie, became famous for his fiery musical duels with the master. With Jimmy Garrison on bass and Joe Farrell splitting three ways on tenor, soprano sax and flute, Jones here uses his flashy technique to inspire, shape and embroider a harmonically free, three-way dialogue. Reza and Jay-Ree brim with bright looping arches of sound reminiscent of Ornette Coleman. Soloing on Kei-Ko's Birthday March, Elvin gets under way with a humorous drum-corps pattern that soon turns into...