ghost of miles

So glad you enjoyed it, Brad! I've got another one coming up about 1968 for the last week of May.

Black and White Records Scott mentioned this as a possible project to me a couple of months ago--it won't include any T-Bone Walker sides, which were covered in a previous Mosaic set. But there's definitely some good 1940s material in that catalogue.

OH YES!!!!!!!!!!!!!

It's included in this set of Miles' Warner Brothers recordings, which I highly recommend--in part because disc 5 gathers a number of his 1980s sideman one-offs as well as four tracks from the Rubber Band sessions: Miles Davis 1986-1991 The Warner Years

Miles Davis did a Cameo side as well, right?

Hey all, here's a segment from my weekday afternoon jazz program that includes some previously-unknown recordings of Michael Brecker's late-1960s Bloomington, Indiana trio, as well as an interview with William Paterson University jazz curator David Demsey and Bloomington-area musician and promoter David Miller, who knew Brecker during his time at IU: Michael Brecker In Late 1960s Bloomington, Indiana

Yankees with 32.8 WAR on the IL as of April 21: The Yankees’ 2019 run of injuries is virtually unprecedented

Yankees are facing a long West Coast road trip with what amounts to a triple-A/spring training starting lineup. I'm guessing Aaron Judge won't be back till June... as a fan of the team since the 1970s, I can't recall a season in which so many starting players went down, especially this early in the year. Almost all of the opening-day lineup (and the pitcher who normally would have started that game, as well as the SS) is currently on the IL: Gary Sanchez, catcher Greg Bird, 1B Didi Gregorius, SS Troy Tulowitzki, SS Miguel Andujar, 3B Aaron Judge, RF Aaron Hicks, CF Giancarlo Stanton, LF/DH Luis Severino, starting pitcher Dellin Betances, bullpen Much appreciation to the Red Sox, btw, for sweeping the Rays in Tampa. Looks as if Boston's finally finding its groove.

Can't wait to hear that one, Lon! My copy should be arriving today or tomorrow. Right now:

We re-aired Trane ‘63: A Classic, A Challenge, A Change this past week, and it remains archived for online listening.

You got my order yesterday via email! A great chance to pick up some of the sets I don't already have and have been looking to get.

Comrade! I hail from the People's Republic of Bloomington! (And am good friends with Commissar McGerr, as you well know.) I am glad that Kate Smith's rendition of "God Bless America" has been banished, but much more on the basis that Jsngry cites. Slippery slope indeed--and what about artists who've sung misogynistic and sexist songs? (Which still seem to get more of a pass, unfortunately.) Recently I was listening to a 4-CD Nat King Cole box set and heard this song for the first time, a duet performed with Dean Martin: Open up the doghouse Open up the doghouse Rover Rover move it over two cats are coming in Nat you look like a man with a story I sure have I told my wife we oughta save money That's the way it's gotta be Oh gotta gotta be that way She canceled all the charge accounts gave all the gold to me Well I can't see what you did wrong Why was your woman so upset Well I put the money on a horse and he hasn't showed up yet Open up the doghouse Open up the doghouse Rover Rover move it over two cats are coming in Well Dean what's your problem Here it is I gave my wife a beautiful fur coat You did Told her it was genuine mink Rich man I took her out to show it off Then we stopped in for a drink Oh cocktails We I know your wife was really thrilled How come you two had a spat It's easy to see it started to rain the coat got wet And mink just don't smell like that Timber Open up the doghouse Open up the doghouse Rover Rover move it over two cats are coming in Let's hear it Nat You know what you know what though What There's just one way to handle a woman Dean we just got to treat 'em rough Got to slap 'em That's right We got to show 'em who wears the pants Cut out that sissy sissy stuff Now it ain't no use to take abuse Whenever they are cranky or cross Let's put the women in their place and we'll show them who's the boss Open up the doghouse Two cats are coming in ... a forgettable early 1950s novelty song, not even sure why it was included on that 1992 box-set, though it serves inadvertently as a testament to the kind of junk that was making the charts in that particular era. It was startling to hear Cole sing those lines. I don't give the song a pass, either, because the two tough-talking male protagonists are framed as to-be-mocked characters being sent to the "doghouse." It's sexist crap that was standard fare for that age because of the prevailing social norms at the time. But on the basis of this particular song, should we refrain from ever playing NKC's "Stardust" on the air or in a public setting? Of course not, that's totally ridiculous. Maybe the Kate Smith case is an exception because the song in question is a secondary sort of national anthem, but I still think it's a stretch to boot it because she sang other songs with racist content. Boot it on aesthetic grounds entirely!

I love the Talking Heads, and they--like many other artists in different mediums--absorbed or displayed avant-garde influences. Avant-garde influence often, perhaps inevitably, makes its way into the commercial mainstream. But the Talking Heads also wrote catchy songs. Sonic Youth, mentioned upstream and another band whom I love, also wrote songs with pop-oriented hooks (set in a very non-pop sound context,for sure)--or at least they were by 1985 and the release of Bad Moon Rising, several years before their major-label signing. (They never would have been signed on the strength of Confusion Is Sex.) I listen to a fair amount of avant-garde jazz, and while I'm steering clear of the Marsalis good-bad-or-otherwise fracas, avant-garde jazz is never going to have commercial appeal. I love the Art Ensemble of Chicago (have recently been making my way through the 21-CD ECM box), but they are never going to appeal to even a wide jazz audience. I buy their records, I share my enthusiasm with other fans, but it's a more challenging form of jazz to listen to then, say, Diana Krall. (And I don't say that to knock Diana Krall, who's actually an excellent musician). The rewards, IMO, are certainly worth it. How to support the jazz ecosystem for younger generations of avant-garde jazz musicians beyond simply buying their records and attending their concerts is an ongoing issue. I don't engage with it much beyond that because I listen to just about everything on the jazz spectrum, past and present, and put some of my resources into trying to support the jazz scene in my own community.