danasgoodstuff

Might have to buy that duet album with Parlan, if I can find it.

Well yes, no doubt. But people using that sort of put down are unlikely to make such fine distinctions.

"Hoe Down" is my favorite part of that album, no accounting for taste.

Indeed, it does.

Was this recorded, and if not why not?

Yes, IIRC the liners on one of Hank's albums on Atlantic talks about that, quotes Hank on how much he digs Moody, and he plays some Moody comp or two on it as well.

You don't like the MJQ with Kenny Clarke?

Glad you liked it, just popped into my head as soon as I read your post.

(9) Joe Jackson - Round Midnight - YouTube how 'bout this one? Starts with a gong 'n everything.

Tommy Flannagan, I don't know how he does it but there are no bad records with Tommy F. on them.

Yes, of course.

He did good work, I hope he's happy with that.

Prez appears to be wearing a strap but not using it. Either it's a publicity shot or he just picked it up for a minute to try something and isn't intending to play for any length of time. Even sitting down playing without a strap is awkward and distracting, believe me I've tried.

Not sure what you heard in Spain, tarogato is a Hungarian instrument (or rather two, an ancient dbl reed and a modern single reed which is conical like a sax but wooden and fingered like an albert system clarinet)

Different mindset, both the musicians and the audience, where being on the same wavelength and building community was more important than chops. But I might be projecting, not like I was there.

Looks interesting.

Love to you and yours Allen.

Jackie McLean was a tremendous groove player, if allowed to do that on his own terms: Jackie McLean - Hipnosis - YouTube or the this alt. take of Right Now! Right Now (Alternate Take) - YouTube

False dichotomy, really basic logical fallacy. And that's just the start. And a distraction from whatever it is he's trying to say about why he dislikes (some?) rap.

I found this utterly unconvincing in its post-modernism, and I like at least some of Don's stuff. There are many different ways do this thing, if it is a thing - I guess it's no more or less a thing than most things, if you get my drift. So, submitted for your considerations as related things, if not exactly the same thing: Billy Larkin & the Delegates - no high art concepts, just kinda jazz renditions of then current hits Bennie Wallace - Twilight Time, populist but arty, Platters tittle tune, SRV & Doctor John Enrico Rava - On the Dance Floor, recent-ish big band modernist or post- tribute to Michael Jackson Archie Shepp - Mama Too Tight, I think the original post was referencing later work, but I love this which sounds a lot like JB's Money Won't Change You to me P. Sanders & Ed Kelly - You Send Me, just lovely Maceo Parker - Roots Revisited, getting to a similar place from the other side Sonny Rollins - much of his work in the '70s & '80s, especially on Tattoo You David Murray - Shakill's Warrior with Don Pullen on organ, Pullen's also on the Maceo mentioned above Scofield's Country For Old Men, reclaiming populism from the reactionaries, 'blues of a different color'. Clifford Jordan's Leadbelly tribute, These are my Roots, as basic and as weird as he wanted to be If this even is a thing, I don't see it as a fundamentally different thing than Soul Jazz, just an unorthodox parallel or fringe thing.

I tended to gravitate to smaller bands when I started buying jazz in the early '70s. I'd heard Goodman and Ellington growing up, and liked them fine, and even saw Ellington. But part of the evolution as a more serious rock listener was to see the trees as well as the forest and I found that so much easier with smaller bands. There were no hard 'n fast rules - I was a sketches fan early on for instance. And as a blues/soul/R&B fan I had no aversion to horns, and bought a somewhat random variety of instrumentations. But was basically a 4/5/6 players guy when I started buying jazz. Economy of means, no more than what you need, was important to me and still is - you can use as many voices as you need, but they all need to be doing something necessary, no padding. When I bought swing era stuff, which wasn't real often, it was stuff like the Goodman sextets. And the few really large ensemble things tended to be ways of framing a soloist, like Miles with Gil or Gato Chpt.3. I still am not a huge big band guy, mid-sized is where it's at to me, 6-10 is enough for more texture, counterpoint, whathaveyou, but every voice making a difference. It wasn't well planned, and if it followed my developing interests as much as time & money allowed, it lead to some pretty big gaps = not that I should have had x, but I might have enjoyed it and eventually did. I played a bit in a student led stage band in college, but was still struggling with the rudiments of playing my instrument and never developed into a connoisseur of the fine art of section playing. What I played in that band had little intersection with my listening at all, other than my undying love of Night Train.

Hey, but he's the hippest cat who is what at! Hardly the most unlikely tune they ever played, nor the worst performance.

Albert Ayler recorded there too, anyone else?

Not everyone wants to go down swinging.

That's my experience too, interestingly betwixt and between.