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Ted O'Reilly
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Posts posted by Ted O'Reilly
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5 hours ago, JSngry said:5 hours ago, JSngry said:
Wow, that's really naïve. Trudeau Tea now served!
It's not about the music, it's about the money that has been made off the music and by extension the culture. Those are two entirely separate issues. If all that shit had been straight from jump (or had gottens straight since), the dreaded "cultural appropriation" thing would likely not be here. But no, people keep making excuses, and the more excuses get made, the more the pushback goes towards people looking at a history of people being brought into this world strictly as a type of cash crop. You start from there and work forward, waiting for a point to where you can say, oh, ok, here's where it all changed, stopped, turned around, and...still looking, still waiting. It has evolved, but it has not stopped.
Sure, music itself is a gift. Most people like giving them, and most people like getting them, and EVERYBODY likes that cycle of getting/giving/giving back.
otoh...records, sheet music, booking fees, artist contracts, anything having to do with the selling of the music (and that is what it is) is not a gift. Not even.
As people who have experienced music both as feeling and as product, we should be keenly aware of that difference, especially if we wonder why everybody is so touchy these days. It's not just the "cultural appropriation" adherents that are simple-minded and tedious, it's the other side as well, The Deniers, the ones who insist that we're all beautiful souls and have only accepted the gift and done right by all. You as an individual probably have. But there is a collective reality, and the collective reality is that such a thing has not happened.
It's not complicated. Really, it's not. It only gets that way when one feels a consistent need to make excuses rather than cop to the reality and then go from there.
Wow, I'm naive. I'm not Murcan (wtf is Trudeau Tea?) , so therefore stupidly ignorant. Thank you for explaining that everything I've ever learned and appreciated about jazz for the last 60+ years is wrong, wrong wrong, and that everything needs to be viewed through your/Organissimo's lens. I bow down to your superior knowledge and world-understanding.
I met and talked with Dizzy. Did you? I met and recorded/interviewed with Duke, Basie, Braxton, Lloyd, Cannonball, Chet, Bill Evans, Carmen McRae Russell Procope, Ella, Paul Desmond, Jay; McShann, Duke Pearson, Cedar Walton, Zoot Sims, Buddy Tate, Don Pullen, Ed Bickert, Flip Phillips, Kenny Barron,Martial Solal, Earl Hines,James Moody, Kenny Wheeler, Moncef Genoud, Geoff Keezer, Cab Calloway, Rob McConnell, Don Menza, Jimmie Rowles and several dozens more, yet have never bothered to try to understand about jazz. I'm naive.
I'm also out of here. I just can't take the JSangrey-only worldview any more. You're right, everyone else is stupid/naive/wrong. Bye.
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20 hours ago, JSngry said:
Well, kumbayah and all that, but if something is sold, that pretty much disqualifies it from being a gift, right?
I always understood that Dizzy believed he gave his music to the world, that it was not stolen by his followers. If you want to ignore that, and bring Filthy Lucre into it, that's up to you.
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On 9/22/2019 at 10:43 AM, JSngry said:
But what gets sold certainly does have at least a claimed owner, and that process can arouse at least the aura of a theft.
White guy Gene Lees, quoting Dizzy (Ithink it was...)
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16 hours ago, Justin V said:
They are known to get partial boxes here and there, and unsold items from one clearance sale (held at the county fairgrounds) get packed up (likely hurriedly) and sent on down the road to the next clearance sale. That's why it might've been dislodged somewhere. However, maybe Disc 1 never made it from the plastic sleeve to the case (which are kept empty on the shelves) when it made it to the clearance pile.
At any rate, one disc is better than zero, but the full set would be nice.
Aha...now I understand: you have 1 of 7.
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7 hours ago, Justin V said:
Disc 2, which is the only part of this set I own. I found it at a Half Price Books clearance sale for $1, with Disc 1 likely dislodged and lost somewhere along the way.
...and the other 5 discs?
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13 hours ago, Michael Weiss said:
From what I've read and been told there's no appreciable difference soundwise.
...and I remember when RCA Victor said Dynagroove and Dynaflex was 'the schitz...'
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On 9/19/2019 at 1:31 AM, duaneiac said:
An interesting documentary about the world of industrial musicals. The story is centered around Steve Young, a writer for David Letterman's shows, who got into these little known musicals when he had to seek out oddball records for skits on the Letterman show. He gradually became interested in and then obsessed with the music in these old trade show souvenirs. The film takes us along as Mr. Young meets fellow record collectors in this specialized field and as he meets some of the performers (including Florence Henderson and Martin Short) who worked in these industrial shows and he even gets to meet some of the composers of the shows, who are like legends in his eyes. The film is a little slow at first, but it has a couple of goods surprises, a little sadness and a boffo ending. The following song plays an integral role in the film, so if you can appreciate music like this, you might enjoy this film. I sure did.
There's a really good radio show about marketing on CBC called Under The Influence hosted by Terry O'Reilly (no relation) which covered that topic a couple of years back -- and it's available here: https://www.cbc.ca/listen/live-radio/1-70-under-the-influence/clip/12424026-when-madison-avenue-met-broadway-the-world-of-industrial-musicals-an-encore-presentation
Lots of the music stands, if you drop the lyrics...
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20 hours ago, Al in NYC said:
I just caught up with this news. Shocking, even though he was in his 80s, because I just saw him playing, wonderfully as usual, just a few weeks ago. He worked right up to the end and apparently died of a sudden heart attack. He was not a complex player, and was by his own telling self-taught (in large part by watching Phineas Newborn Jr's hand work), but his work was always interesting and very enjoyable, and often smoking and stunning. Like a lot of Memphis players there was a fair amount of R&B based funk in his work. Plus, the couple of times I had the occasion to interact with him I found him to be a quiet, gentle, but very engaging person. He will definitely be missed on the NYC jazz scene, where he had become an always welcome mainstay over the past decade plus.
Bye Mabes...
I think you've described him perfectly: about his music, and his personality.
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9 hours ago, John Tapscott said:
That's one I recorded for Sackville, so I took that one off the shelf too, John. And followed it up with this one we did at Don Thompson's comfy home studio.
Ne
I see Delmark, who now owns Sackville has kept this duo album of Harold Mabern and Geoff Keezer (which I recorded) in the catalog...
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1 hour ago, Justin V said:
Farrugia came to Akron a few years back in a band co-led by Ernie Watts and Brad Goode (joined by Kelly Sill and Adam Nussbaum). I hadn't heard of him before that night, but he and the rest of the band put on a great show. I haven't heard Piltch or Ballantyne, but I'm intrigued by the company (rhythm section) they keep.
Yeah -- Adrean is FINE! and the youngest guy here...
Rob Piltch is a terrific guitarist, sort of musical son of Ed Bickert, as all guitarists should be...
with a great range... Andy is a deep musician, playing all the reeds with a great knowledge of styles, and is a fine writer and orchestrator for all band sizes. Great teacher, too. Should be much better known, but is as so many Toronto guys are, quite happy to live and work at home.
Neil and Terry are of course internationally known, as they should be.
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A new release from a Toronto stalwart Andy Ballantyne, with hommages to his influences. A set of rewarding originals from a gang of greats...
You'll be able to get it here: https://www.andyballantyne.com/playlist/play-on-words/
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Died earlier this week...not as well known as he should have been...
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Here's a link to a very recently released CD of Harold, with some great Toronto players led by Kirk MacDonald. It's from 18 months ago, and must be among Mabern's last recordings. I was delighted to be asked to write the notes for the album...
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The great Canadian reedman P J Perry, in a duo setting with Bill Mays...
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OH...such sad news. A lovely gentle man. Like a linebacker with genuine friendliness and deep soul.
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Listening to Disc 1, and loving Ed Shaughnessy's drumming as a sub for Louis Bellson on disc 1...
I I I I I took this off the shelf in regard to
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10 hours ago, BERIGAN said:
Don't shoot the intermediary
Heh, if that's not the title of some book/song/movie...it should be!
thanks for passing it on to Mr. Wallace.
well, perhaps Ted Simmons and the Cardinals would have been a better team if...perhaps...they didn't trade Jerry Reuss away after the 1971 season, when he was 22. (220 wins, almost 3700 innings, but hey, they got back Lance Clemons and Scipio Spinks. !)
someone else that brilliant GM traded away(don't even know his name, probably shouldn't look it up as I would want to put a curse on him EDIT: Looked him up, Bing Devine, who have certainly heard of, and had a hand in the Cards winning 3 W.S. in the 60's, how did he turn into a terrible GM the 2nd time around?
who am I forgetting? another pitchers the Cards traded away, that very same offseason. Oh yeah, STEVE CARLTON!!!!! I wonder if those 2 young, left handed starters would have helped Ted be better?
I'm glad Mr Wallace did some more checking on Simmons...I do recall reading that Bill James had praise for Simba. I have also heard everyone from Keith Obermann, to Tim Kurkjian write that Simmons should be in the hall...I also read somewheres the horrible (in my book) Whitey Herzog has had a hand in keeping Simmons from getting voted in by the veterans committee .
Simmons, may, may have been doing drugs, that was one excuse given in trading away another favorite of mine, Keith Hernandez (and Gary Templeton as well) Darrell Porter had quit by the time the Cards traded for him (he sadly died of a drug overdose years later)
so hard to judge anyone , least of all catchers, towards the end of their careers. Gary Carter was a great defensive catcher, but really didn't seem all that good by the time his career was ending...
hey, who could ever get enough Ted Simmons talk eh?
found this link while trying to see If I could find where I read ol' Whitey was keeping Simmons from the Hall... very interesting read....still feel he underrates Simmons defense....sad there isn't a way to watch full games from the 70's and 80s (sure, earlier too) to see if folks like me are looking thru rose colored glasses a bit...I just don't recall him not being excellent at blocking balls in the dirt, later on in his career.
https://www.cooperstowncred.com/will-ted-simmons-ever-make-hall-fame/
On behalf of Steve Wallace, Berigan
"... interesting comments and thanks. Whether Herzog interfered or not, I don’t really see ted Simmons as a Hall-of-Famer. It wouldn’t be a total injustice if he was in there, but there are a lot of really good players from that time who didn’t make it either. Al Oliver, Keith Hernandez, Amos Otis, Ron Cey, Kent Hrbek, Ken Singleton, Jack Clark, and on and on."
And I (O'Reilly) will add that Curt Flood might qualify in his own way, too... If Marvin Miller, why not Flood?
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17 hours ago, miles65 said:
The Duke Ellington recorded for Victor February 7, 1932 two medleys for the Victrolac program. The second medley was recorded with two machines and cobbeled toghether decades later they form a stereo performance.
17 hours ago, miles65 said:Yeah, that was mentioned back on Aug. 10 by Chuck Nessa...
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Did not the Mercury "Living Presence" series of recordings include sessions recorded to 35 mm film stock rather than audio tape, as it was considered a cleaner sound?
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9 hours ago, JSngry said:
I was just kidding about turning BNs into CTIs. What Rudy did for CTI was use a direct input for the bass. Creed Taylor was making audio crack, I tell you. I lost track of how many stereo stores and record stores used those things to sell whatever they were selling. Ron Carter should have worked on commission!
I do remember using a copy of The Gigolo to audition speakers back in the day.
My test record was Vic Dickenson Septet, on Vanguard. Lovely natural sound, even today, though I think my 78 year old ears have finally caught up with 78 RPM sound.
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5 hours ago, John Tapscott said:
Ted: You have sort of answered this above. but just seeking some clarity.
Does the set include music from both the March '75 and Oct/Nov '75 gigs?
Does the set include the music already released or is it all unreleased?
Thanks
1 hour ago, soulpope said:Could you share the track listing pls ....
I'm not on the Lord TJD website, but Don Brown, a contributor here is, and printed it out for me. As I mentioned, I am not sure it's yet complete, but I'll go with what it says, likely given by Mosaic. I'm not going to reproduce it (too much keying-in for these fingers, but as a sometime-band, the repertoire is a bit limited so there are many titles presented several times. Given the artists involved, they're always different, not just 'alternates' as they come from different circumstances.
I count 51 titles, 37 never issued. And let me say, from what I've heard, even the tracks that have been heard are all now remastered by a terrific engineer, Chad Irschik working with Don Thompson, and they sound WAY better than before...
Session dates, all at Bourbon St. Toronto
March 25,26,28 1975: 17 tracks never issued.
March 29 1975: 6 tracks, released on Telarc 83319
October 25,26 1975 7 tracks never issued
October 27,28,29 1975 6 tracks, on Artist House (one also on a Verve), bootlegged on Domino
October 27,28,29, 1975 8 tracks, the best-known "Live..."etc on 2-LP A&M Horizon, Verve CD
October 30,31 1975 with Rob McConnell for Ed Bickert, 7 tracks. This session was once assembled for release, I recall, but then never issued. I see that TJD indicates there is a substitution for one of the intended tracks, so perhaps despite Mosaic calling it "The Complete 1975 Toronto Recordings", there's gonna be at least one orphan track.
And I recall one of those nights that both Ed Bickert and McConnell were on stage together (Ed had heard of his father's passing and asked Rob to sub -- could have been an overlap, I don't recall these many yearts later) so it might have been taped, too... As we learn from the never-ending world of Duke Ellington, complete is never complete.
27 minutes ago, Ken Dryden said:I saw an ad in downbeat and ordered it, by privately issued I meant this was likely a one off release by Shearing’s widow, though I didn’t take the time to confirm that before posting.
That's exactly right. George's widow, Ellie had the tapes and wanted them released, and arranged with Don Thompson to get them out. Very intimate, beautiful music there, from master musicians.
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22 minutes ago, Ken Dryden said:
It will be a memorable Mosaic set. I've long been a fan of Ed Bickert and Don Thompson, in addition to Paul Desmond. If you haven't picked up the privately issued home recordings of George Shearing, which features duets with Thompson (along with a few Shearing solos), it is worth acquiring.
Is it in fact 'privately issued'? That means to me no distribution save from the producer, but I know someone who bought that from Amazon, so it must be available online... It's really good, as you note. George playing his own piano in his own home, with no time limits, no producer asking for a smooth-jazz version of Justin Bieber's Greatest Hits...heaven for an artist.
2 hours ago, mjzee said:Do those tapes still even exist? If they were in Horizon/A&M’s possession, wouldn’t they have gone into Universal’s possession, and then there was that fire...
I really don't know. After A&M/Horizon, there was later private production from John Snyder through Artist's House from what I assume was that 'eloped' batch, so the tapes may have avoided that fate if they were in someone else's hands. We may know the whole story anon...
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1 hour ago, sgcim said:
Thompson had a lot more visibility than Ed, because he toured with John Handy back in the 70s (including the well-known Monterey jazz festival performance), and then toured with George Shearing for a while. Ed barely left Toronto!
...as he wished -- Ed was a homebody, pure and simple. He made a solid living, raised a beautiful family and slept in his own bed every night. Though many implored him, he wasn't interested in a life on the road. I personally think that if he had taken that trek, his music would have be somehow diluted, or lessened in some way through repetition. That's certainly not the case for all artists but I think it would have been for Ed.
Don played with everyone, including -- on the road -- Handy, Shearing (for much more than 'a while'), Jim Hall; and many others who came through Toronto and wanted him to play in their groups. But as in Bickert's case, why, unless for purely musical reasons, admiring the leader? For the most part, there was no reason to. He got to play a couple of weeks with everyone who came through the city (say: Art Farmer, Dexter Gordon, Jay McShann, Zoot, Al, Rosolino, Fred Hersch, Don Friedman, etc. etc.) and in the afternoon play a film score or jingle or pop recording, and make some more bread and pension money AND sleep in his own bed. Meanwhile, have their own music made with their 'local' friends on gigs they could control...
Most of the world has no idea of what a solid musical scene it was in those guys' heydays of the 1950s on for a few decades. Not even a half-step behind New York or LA or London.
(Oh yeah: we have universal medical coverage and WAY fewer guns. Too many, but WAY fewer.)
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8 minutes ago, JSngry said:
I got those walkie-talkies (#13). That's what I use for streaming.
You dummy! That's one of those new TRANSISTOR pocket radios! Haven't you noticed nobody answers when you say "Over!"? Geez... (But how is it for streaming?)
Junior Mance RIP
in Artists
Posted
Gene DiNovi is still with us, alive and well and playing in Toronto. Well, playing....y'know: covid 19.
I loved Junior Mance's playing, and him personally. A lovely, sweet man was Julian C. Mance Jr. I recorded him for broadcast many times at Cafe des Copains and the Montreal Bistro in Toronto, then would go in to hear him again and again the same week. He was a great dinner companion too, with lots of stories, some of which can't be repeated in polite company. In my always-changing list of top-five Favourite Piano Players Junior and Ray Bryant are always included.