HutchFan

Well "dandily" might be a real word that shows up in Merriam-Webster. But that doesn't mean that we should actually USE IT. BTW, I see the word "fop" in the definition above... This immediately comes to mind: BTW: I have no problem whatsoever with the words foppish or even foppishly. I guess I am a FOP man.

It's a fantastic record. Was happy to see Elemental reissue it a couple years back. As my father would say, "You caught a plum!"

No offense taken! I was just explaining. Sorry if I came across too strong.

I just finishing listening to Tennstedt's studio M3. Now, I've moved on to his live M5 from 1988 (as above). It's included in this set: soulpope (or others), do you have Tennstedt's live Mahler Third that was released on ICA? I ask because I was VERY impressed with Tennstedt's studio M3. I only heard it for the first time today. And if his live M3 is even better . . . (!!!)

I'm not familiar with Priestess. I'd assumed that it was from the 1980s, didn't realize that it was recorded in '77. Thanks for the heads-up. I'll check it out. Re: McCoy's Sahara... I know it's one of your favorites -- and I know it's a very important record. I think you could make a solid argument that it's the most important record of McCoy's career as a leader. It had a tremendous impact on jazz. ... But that's not what my blog is about. I'm not writing history or criticism or musicology. The personal, subjective angle is what I'm shooting for with my blog. That's why I call it Playing Favorites. ... So I can't and I shouldn't include Sahara on my blog if it's never had the devastating impact on me that it's clearly had on you. I'd be cheating. But it's beautiful that you love Sahara. I even love that you love it. Seriously. I think those feelings are what matter most of all. The cultural considerations and the history and the musicology and all of that is very, very important. Of course it is. I'm not discounting that whole enterprise one bit. But I think the reason that we spend so much time on this forum talking about music has NOTHING to do with the music's historical/objective/broader cultural importance. (All the things that will continue to exist "on the outside" after we're gone.) Nope! We listen and we obsess because we love this music. We listen because of the way the music makes us feel. That's THE THING, right there. That's the center of the target, the bulls-eye. So it's not a game of right and wrong; it can't be. Sahara is in your heart. It's not in mine in the same way. That's O.K. You dig?

Again: Fun to hear how the quintet's rendition of Zawinul's "74 Miles Away" anticipates Weather Report. On other pieces, the connection isn't immediately obvious. On this cut, it is.

Ugh!!! R.I.P.

Please don't say "dandily" -- ever. Even if it's right, it's wrong.

Weekly Recap - PLAYING FAVORITES: Reflections on Jazz in the 1970s 04/07/20 - Gil Evans – Svengali (Atlantic, 1973) 04/07/20 - Airto Moreira – Fingers (CTI, 1973) 04/05/20 - Woody Herman – Giant Steps (Fantasy, 1973) 04/05/20 - Ian Carr with Nucleus Plus – Labyrinth (Vertigo, 1973) 04/03/20 - João Donato & Eumir Deodato – Donato/Deodato (Muse, 1973) 04/03/20 - Cecil Payne & Duke Jordan – Brooklyn Brothers (Muse/Elemental, 1973) 04/03/20 - Eddie Henderson – Realization (Capricorn, 1973) I will say this: Do not sleep on the Labyrinth! Norma Winstone is the secret sauce. The same could be said of Airto. Any recounting of "Jazz in the 1970s" must acknowledge the heroic deeds of these two extraordinary musicians. So... What say you?

Oh yeah.

Getting my daily dose of Vitamin "T".

This is the line-up that made the first two (and best, IMO) Soprano Summit LPs, both for the World Jazz label. R.I.P. Bucky Pizzarelli I really like that one.

NP: