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I need to feel that relaxed vibe. . . . “Songbook: Vinicius de Moraes - Vol. 2” Lumiar Records cd

I had never really noticed how much whimsy, even mischief there is in the Op. 18 quartets. Maybe it's me that's been listening too seriously? Maybe it's these interpretations? No matter, it's not like it's nonstop comedy, it's just that there's enough sideways shit in there that sometimes I think I can hear smirkage going on while the ink was being put to the page. Otherwise, the lucidity of the playing here has me wondering what kind of a...psychedelic experience could be had with these records. Anybody have their own story to tell about that?

“Johnny Hodges, Billy Strayhorn and the Orchestra” Verve/Analogue Productions SACD

Always loved Now, the album cover and all.

CTI 6019 Jackie & Roy "Time & Love" - rec. 1972 - Engineer: Rudy Van Gelder

Atlas LA27-1018 - Russ Freeman & Shelly Manne " One To One" - rec. June 1982 - Engineer: James Mooney

Great photo. So interesting that Hutcherson never wore a suit in the 60's-70's but wore a suit/tux in the 80's thereafter; e.g., to: What an incredible career, an incredible muscian.

Chuck Mangione is from, and lived much of his life in Rochester,New York where I lived for more than 30 years. Saw him live a number of times. I very much like his early recordings on the Riverside label, and also his session when he was with Art Blakey and the Jazz Messengers. R.I.P.

Saw Cleo Laine twice over many years. Enjoyed her singing. R.I.P.

Kenny Burrell “On View at the Five Spot” 24 Bit by RVG Blue Note Japan lp facsimile cd. Although the new SHM-SACD and cd versions of this sound fantastic, I still really like the sound of this Japanese RVG cd.

I've accumulated a lot of her LPs, mainly because of John Dankworth involvement, and most of these are still in the massive "to be cleaned" section, decades later. Maybe I need to do something about this.

Joe Farrell “Penny Arcade” CTI King Jazz cd Stevie Wonder’s “Too High” is probably the highlight. Joe Farrell – tenor and soprano sax, flute, piccolo Herbie Hancock – piano Joe Beck – guitar Steve Gadd- drums Herb Bushler – bass Don Alias – conga I reset the entire system. . . and it isn’t quite all it can be yet. . . later today it will be firing on all cylinders.

Now the leader of the Sun Ra Arkestra on road engagements. His alto saxophone was stolen and he needs help. https://www.gofundme.com/f/help-replace-my-stolen-alto-saxophone?attribution_id=sl%3A247c2911-4248-48f8-8c32-f134d11df5f0&utm_campaign=natman_sharesheet_dash&utm_content=amp15_t1-amp14_t2&utm_medium=customer&utm_source=instagram_story Update On July 18, after a joyful birthday concert in Harlem with my new Quartet, I discovered my custom Alto saxophone was missing. As the conductor of the Sun Ra Arkestra, I rarely get the chance to perform my own music, so this night was especially meaningful. After reconnecting with friends and loading up for the trip back to Philadelphia, I was shocked to find my one-of-a-kind saxophone—crafted by Dave Walker of Leeds—was gone. Despite searching the church and retracing my steps, it was nowhere to be found. The loss is deeply personal; an alto sax isn’t just an instrument, it’s an extension of who I am. Playing on anything less would make it difficult to lead world-class musicians with the confidence and focus they deserve. The psychological impact is real, and it’s hard to imagine keeping up with the demands of the Arkestra on a lesser instrument. This comes at a critical time. I’m preparing to lead the Sun Ra Arkestra in four nights of concerts at SFJazz in San Francisco starting August 31, followed by a show at the Lodge Room in LA. I need to secure a professional-grade replacement—ideally a King Super 20 Silver Sonic—so I can give my best to the music and the community that has supported me through so much. After Sun Ra’s passing, I struggled with self-doubt and loss, but it was the compassion of friends, fans, and my mentor Marshall Allen that brought me back. Their belief in me helped me return to the Arkestra and eventually take on its leadership. Now, I’m reaching out to that same community for help. With your support, I can continue to honor the music and repay the confidence you’ve shown in me by giving you the best performances possible. Update I have found a king super 20 alto which would meet my professional and aesthetic needs hence I have adjusted my goal ..as it's price is far beyond my capacity. A thousand tongues could not express my gratitude to all the generous contributors whose compassionate giving is moving me closer to a recoup physically, psychologically and emotionally from my devastating loss. I humbly thank all contributors and ask you to continue to share my page so I can have a proper horn again. God Bless you all.

Haha. She's the artsy one, it's the reason why I am a member🫠

Geri Allen & Timeline “LIVE”

Listening to the bonus material on this Grateful Dead “Blues for Allah” cd. This won’t be in the upcoming 3 cd 50th Anniversary edition. Fun jams. . . .

I really like his New Quartet with Kris Davis, Nasheet Waits, and Jaleel Shaw. Not sure if/when they’ll put out a proper album but their live shows are good and the contrasting aesthetics of Holland/Shaw (smooth, fluid) and Davis/Waits (jagged, firey) sound cool to me.

I think Satie is such an enigma that can not be grasped (don't know of this is a correc translation). As a person elusive but a little superficial at times. but i think i prefer other recordings to ... listening now to your preference 'Jean-Joel Barbier'.

I mentioned this earlier in the thread, but it was a pretty incredible night when I got to see Hutcherson, McLean, Hill, Higgins & Scott Colley at Aaron Davis Hall in 2000.

I grew up with Ciccolini's Satie and got them all, but since I heard Jean-Joel Barbier I find them too artificial.

Yes, my local shop also didn't have an original... Listening again now with the volume up another notch, sorry neighbours, and bass is definitely more present.

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