JSngry

I wonder what people would think about Denardo's drumming on these records if they didn't know it was Denardo? It's never bothered me...

Oh yeah, this guy was part of my formative musical years, so agin, I have no problem with electronics, in jazz or otherwise. And if this isn't jazz, I'm ok with that too, I'm ok with anything I'm ok with.

Appreciate the input here, thanks.

Dude, I hears Sextant a few years before I heard Maiden Voyage, Black Is The Color even more years before Inner Urge, Svengali at least as many years before Out Of The Cool, so...no I don't feel that way. To me it's just another palate. Totally respect that not everybody hears it like that, but that's what I hear, just more sounds to work with.

And that brings to mind that although I have record-hunted/bottom fed so much over the years in search of music, it's been just as much fun going into these, uh, "odd" places and thrift stores and dustymusty mom/pops and soaking up the ambiance, the smells, the different people and the distinctive (or in some cases. "distinctive") people and personalities, owners and customers both. Nicholas Potter in 1983 was a quirky guy, ok, but look at him now, he's still got that quirk and is making it work for him. Not everybody has, alas. Lord knows, I like "characters", and between musicians and record stores and different loyalists of each, it's been a virtual feast of them. Standardization of businesses is effieint and all that, but it decreases the Quirk Factor to an exponentially negative degree, imo. Then again, I'm getting old. Tempus fugit, etc.

I found mine in Santa Fe, a place called Nicholas Potter, Bookseller. Still in business apparently. They was almost entirely a boodsore, obviously, but had a little bin of used LPs in the back, of which this was one. Noonah was another, I forget what all else. I bought what they had that I liked, came back six months later and the stock had not changed one bit, so the records must have been some wierd afterthought of a collection dump, I guess. I'm wanting to say that there was a fair amount of classical in that mix, and I wish I had more curiosity about that music then, because if that selection was of the same caliber as the jazz...oh well, no sense crying over split milk, right? Anyway, here the guy is today, dig it.

I have the LPs too, but my copy of At 12 is an original fatass vinyl in a laminated cover and my copy of Crisis is a promo copy in some weirdass quad-compatible mix, both bought, oddly enough, at the same visit to Stan's Record Store in downtown Shreveport, with R*B 45s pumping non-stop in the store at full volume and the Jewel-Paula offices right next door.. Ambiance out the ass! But between portability of the one and a hopefully tighter mix on the other, I'll get this reissue at some point along the way. It's functionality plays to my current lifestyle.

Really! I've only seen one copy, and I bought it on the spot. That was in, like, 1983 or so. Are you sure all those sealed copies you're finding today are legit?

Sure estates can be wronged, and they can seek - and get - remediation. Point just being that they're going to have to make their point in terms of the original legalities were not right in the first place. Friends and Neighbors was another one that Ornette claimed was not legit, and it got to CD. So...Ornette and Bob Thiele, some kind of story there, and maybe Cuscuna handling the impulse! reissues but not the RCA/Flying Dutchman reissues was the, uh, swing factor. Maybe he could have done it had he wanted, but he's a sensitive motherfucker, history has shown that Michael Cuscuna has been.

In terms of Ornette's estate, I have no idea. Ornette chafed at them forever, which I think is why they never got reissued in his lifetime. But - he's dead now. Turning point! As far as label-to-label, Real Gone does it right in terms of licensing.

The wife and I are finally realizing that we need to have disposal plans in place for our bodies when they die. We both favor cremation and also favor pre-paid burial/etc plans. We keep getting mailings from The Neptune Society and were just wondering how legit these guys were. Seems like I've heard of them for a while now, but it also seems like their profile is rising as more people appear to be favoring cremation. So....does anybody here have experience with them? Are they on the level and reliable? Will they still be here when we aren't? I know my folks had pre-paid funeral/burial plans that ended up being of invaluable comfort and assistance when they passed. Would like to have the cremation equivalent for our kids, if possible.

Wow...no, not at all. Things were getting loud before that atomic bomb. Things were getting quiet before the atomic bomb. But the atomic bomb and all that came along and after it, that was a fulcrum point. Of course it was, don't think it can be anything else. Life was already getting loud, and WWII was aloud war between loud peoples. It had a very loud ending, and loud creates ripples. Of course people wanted quiet when they got loud. And of course loud kept getting louder the more people wanted quiet. And of course both things happened concurrently. How could they not? People never get what they want, they get what they want to get away from. We are hunters and prey at once. As for that Goodman cut, gotta be this that or another you never will be, ha, I wish there was a movie orchestra that played like that. Don't know how much written ensemble music you listen to or how you listen to it, that's your business, not mine, but that band's blend and precision is really remarkable. And it swings, maybe not BOOM BOOM BOOM BOOM swing, but people talk about how tight the Glenn Miller band was (and it was, the airshots are a marvel at times), but the Miller band just did not swing the way this band did (if they swung at all, somebody once said here a long time ago that no, they didn't swing, they rocked, and maybe so). What's the point of having charts if you're not going to dig into them and make them speak? Those weren't head charts, riff excursions, jamming frameworks, those were purposeful self-contained works. The degree of detail in how Goodman got his band to play them is not at all common. If you think it's loud, listen to how it's loud, there are different types of loud, different ways to balance the balances, blends and attacks. Loud is not just a matter of decibels, ok?

If he is juicing, and continues to do so next year, he'll not prove he's not juicing by having the same type of perfomance. Has the guy's physique undergone any noticeable changes since his minor league days?