Rooster_Ties

I gots not NO problem with that. Not the kind of thing I seek out, but that didn't bother me a bit. In fact, more than a little it kind of reminds me of Joe Henderson effectively 'remixing' himself, in the way he remade "Power To The People" in 1973 (below) -- where his original 'straighter' version of "PTTP" was from 1969).

AN UPDATE... My Dad is doing really well, almost back 100% really. He hasn't really had any need to use the wheeled walker we bought for him, and certainly not the wheelchair either. He's had half a dozen tests done since the initial fall, and they can't really find anything especially definitive. And although we'll never know for sure, lots of people have suggested that there's as good a chance as any that it was DEHYDRATION that caused his initial blackout back in mid-March. For one thing, he was barely drinking more than 24 oz of liquids per day (sometimes closer to 30 oz), but almost never more than that... ...when everyone has been saying he really needs to be drinking more like 50-64oz of fluids per day. He had ALSO had the flu about 5 days before, and that had really taken it out of him (and surely some sudden dehydration there). ANYWAY, the good news is that his GP, and heart-doctor, and neurologist have all cleared him to go back to driving again (which he's been doing for about 3 weeks now). He's NOT driving on highways any more (or only very rarely, and never all the way over to St. Louis). All this has been a big wake-up call, certainly, and -- very long story, short -- *in September* he will be moving into the retirement community I was talking to you all about back in early April. My wife and I spend a whole week with him in late May, and we went around to 7-8 different retirement communities (and a couple lower-end "assisted living" places too). And in the end, the best place for what he wants in terms of location, and amenities, is the same place where his mother went (my grandmother), back about 23 years ago, when she was 99 years old. It's not fancy, but he's going to be getting a rather large 1-bedroom, 2(!)-bathroom apartment that's ~600 square feet (almost the same size as where my wife I and live here in DC). It's actually two 1-room efficiencies right next to each other, where they opened up a new doorway between the two units. Which means that my wife and I can still stay with him when we come visit (hide-a-bed sofa in his living room). And if I have to do some extended visits (which seems probable at some point longer down the road), I'll be able to be right there with him the entire time. Tons of space (relatively speaking), and only $50 more per month than their 450 sq-ft units. My wife and I will be there for about 10 days around the 4th of July, assessing what he wants to take with him, and doing some initial packing. Then I'll be back another week sometime in August (just me this time, not my wife), doing some more serious packing. And then he'll move in mid-to-late September. I can go more into our plans for how to sell the house, and deal with all the contents in another post -- but the news there is mostly really GOOD -- and a much longer story. But overall, everything's going well. My Dad is getting more repetitious in telling me stuff, and it's clear that if we weren't moving him soon, that within 1-2 more years it would be much more of a necessity. So years from now, I'm sure we'll look at this fall he had back in March as a big (and really good) wake-up call.

I at least half-concur with that. When I moved to DC 8 years ago, and had to get rid of half my CD's -- 90% of my post-70's Miles CD's didn't survive the move. I think(?) the only thing I kept was Aura, and maybe Miles & Quincy (not sure about that one). As much as I dug and still mostly dig Tutu and Amandla, I just couldn't keep so damn much stuff (because of space, having moved into a 630 sq-ft 1BR apartment, for my wife and me). I think I went from like 7,500 CD's, down to 3,500 (or something like that). I have every Miles Columbia metal-spine box, and every "bootleg series" and 20 other one-off CD's -- so I figured something had to go (yes, even Miles) -- and it was practically all of Miles 80's/90's output that done went. As often as I listened to it, I can stream it off YouTube if I really ever wanted to listen to those tunes again. I will gladly listen to this new Rubberband disc, via streaming. And if I find a cheap promo-CD of it sometime, I'll be temped. But I can't imagine keeping it more than 5-10 years -- at some point, it'll have to go to.

True, but over the weekend I realized I've listened to Ancient Dynasty (with and because of Joe Henderson) probably 5x (maybe 10x?) as many times as Keyed In (trio only). Both are really damn good, and I'd pay a bit of a premium for either one (or both) on CD -- though neither have ever been issued on CD.

I'm not wildly in disagreement with either of you. I'm not so much "moved" by the obscure Guilda date I started this whole thread about, as I am genuinely intrigued by it (in a way that makes it interesting and almost 'fun' to listen to). Guilda hasn't mastered (or at least hasn't embraced) the kind of language most jazz pianist would have been playing in 1964. In that respect, (I'm supposing) he never had to "un-learn" a lot of clichéd licks found in a lot of other pianists playing around that time. AND YET, his technique and 'touch' are really quite nice. It's like he's VERY fluent in how to handle the instrument, but he's NOT speaking his native language with it -- so he doesn't know what NOT to do, nor does he do too much of what anyone else would have done. There's a sort of very skilled but naïve authenticity about the whole thing that I kind of like.

My favorite John Patton album, and the only other CD version of it is split across two CD's (on the Mosaic).

I gave this same (obscure) Friedrich Gilda LP a couple spins over the weekend, and was reminded again what a delightful little recording this is. Not to make it out to be substantially more than it is, but it's definitely got a different sensibility about it. And I followed it up by spinning Joanne Brackeen's 1979 trio album Keyed In (never on CD, far as I know) -- which also is a bit outside the norm too, kind of in a similarly ambitious sort of way (though by 1979, such piano-trio albums were a little more the norm). My wife really enjoyed both too, I'll add.

I wish I had about 20-30 copies of both Charles Tolliver Selects -- just to give to well-deserving people over the next 20 years. Cuz it's a crime his core albums (CD's) are expensive as heck, and hard to come by. I've got both, but I can think of 3-4 people I'd gift copies to, if I had the chance.

Saturday and Sunday:

If the liners were expanded and reasonably good (and better than what came with the Blue Note, with 2-3 essays by some varied voices), I could be tempted to get the new CD issue of BOC. I'll be curious to get feedback on the liners, after this new edition hits the streets.

Really good (and recent) article on the history of this thing... https://www.citylab.com/transportation/2019/02/germany-public-transit-schwebebahn-wuppertal-trains/581815/

A few MUCH longer videos...

Damn, that's nice!! The only Lloyd McNeill I have is Washington Suite (on CD), but I suppose I really ought to consider getting some more then.

Most of the time I just take Green/Yellow from Columbia Heights down to Gallery Place, and walk over. But when I ride back home with my wife (she works over by Union Station), a lot of the time we go up to Fort Totten, and then back down to CH again from there. Can you imagine having a regular commute on en elevated monorail, over a river? This seems like a quintessential "retro-futuristic" sort of design, and I'm sure was very forward-thinking in it's time. Hell, I think it's forward-thinking even now! Some more historic footage...

https://ggwash.org/view/35907/this-german-citys-monorail-redefines-river-transportation https://en.wikipedia.org/wiki/Wuppertal_Suspension_Railway And it's still running today!! (Nice little 10-minute mini-doc below)

Quoting my own first post in this topic, does anyone else hear some parallels in Sessions, Blacher, or Krenek?? -- to I guess one would call 'more traditional' modern counterpoint (i.e. Hindemith (generally, or at least often), and Shostakovich's 24 Preludes and Fugues). I realize those three are a good bit more "modern" (Sessions later symphonies, especially). But to my ears, at least part of their sound-world seems at least related to counterpoint (as my understanding of it goes). OR, perhaps as usual(?), are my ears on backwards again?

Impossible to bring up this topic without mentioning Paul Hindemith, who does modern counterpoint about as well as anyone. His chamber music, in particular, is just loaded with it -- including the nearly 3 dozen(!) sonatas he wrote for various solo instruments + piano. I have to confess that there really aren't too many individual pieces by Hindemith that really stand out to me the most (as favorites), because all of it is all so engaging. Like everything is a super-solid 7 or 8 (on a 10 scale), but I've never become so fond of any one piece that I might 'up it' to a 9 or 10. I think I have about 25-30 hours of Hindemith on CD, and especially love Ludus Tonalis (1942) -- his 25-movement, hour-long solo piano study in counterpoint. Stravinsky's Symphony in C (1938-40) is another particular favorite of mine, and definitely is loaded with tons of modern neo-classical counterpoint. I've wanted to hear Symphony in C performed live for 15-20 years, I think I'm FINALLY going to get my chance next year, when the Jacksonville (FL) symphony is performing it here in DC at the Kennedy Center in March (2020). I've been looking for it on symphony programs since the turn of the century, and I've never once seen it programmed (alas) -- until now, finally! And of course, Shostakovich's 24 Preludes and Fugues (1950-51) for solo piano is another modern favorite in fugal writing (2+ hrs worth!). That's probably enough to get the ball rolling. But I might also mention that while usually not considered neo-classical (or maybe only their early output), and often more thoroughly modern (even 12-tone in the case of Sessions), some other composers that I think employ a LOT of really great contrapuntal writing, include... Roger Sessions (1896-1985) -- especially his later symphonies #6 thru #9 (though they're more serial too). Boris Blacher (1903-75) -- his symphony (1938), and piano concertos #1 (1947) and #2 (1952) come to mind. Ernst Krenek (1900-91) -- I know his symphonies best, but he wrote a veritable mountain of music (almost 250 works with opus numbers).

In the 90's, I vaguely remember seeing a bunch of euroboots of various obscure pre-1957 Miles things, and after a while, I have to confess they all started to look alike to me -- so I never bothered to really dig in try and figure out what's what. It's possible those live BOC tracks might have been something I saw, but never even recognized for what it was.

Interesting. I would have figured that live material would have come out (legit) before 2001! -- well before 2001, actually. I guess that explains why I'd never heard, nor even seen any of it before then (though even back then, I just figured I'd overlooked some euroboots of that stuff, which I suppose perhaps I had).

Serious question: what was the first legit (legal) issue of the *live* Birth of the Cool material? And were there any other notable issues of said live BOC tracks, Before the well-know CD issue of the 2001 RVG? Any LP issues (pre-CD era) - ?

WHICH, I might add, makes them half-worth their weight in gold -- and is half the reason I think I own every single Cookers release on CD. Billy's playing is still as good as ever, and I'd argue he's probably the best working tenor-player alive today (by my estimation). Yeah, there's Wayne -- but Billy's a lot more active -- and Wayne hasn't played enough tenor most years to really quite go head-to-head against Billy (in my mind, at least).

Interesting. I know in my case, this could result in a few physical-media sales for them too -- as there are around 5-10 of their releases that I'm more than a little curious about -- not enough to have pulled the trigger on any of them yet. But if I could spend a little time with them, and really listen to the whole release (or at least half of it, but full-length tracks), I could easily be swayed into picking up a few titles. For instance, there's a live Freddie Hubbard date they have, with Phil Ranelin on Trombone -- that I've been more than a little curious about. But without really being able to hear how much solo-time Ranelin gets, I hadn't yet taken the plunge.

Don't know much at all, but just found the opening track "Dragon Dance" on YouTube...