Rooster_Ties

The shipping-tracking gods say my big Dusty shipment -- mostly Hino! -- is due on Thursday. Fingers crossed, cuz I'm due on a plane for St. Louis Friday afternoon, going to the airport straight from work (so I won't be able to get any mail on Friday before I go). Hoping to spin them all a bit at work on Friday morning -- and then I may "subject" my Dad to hearing them in the car to and from Kansas City on Saturday and the following Thursday. Depends on how "out" they are; we'll see! He'll be 92, and he likes a good polka, or barbershop-quartet, or military band sort of thing, maybe once or twice a year (which is about as often as he makes any personal effort to hear music -- I don't know that he's ever listened to music on the radio, even (by choice) -- in his entire life). That's the entirety of his interest in music (always has been). My MOM, on the other hand, she's the one who had the record collection when I was growing up. She thought my early interest in Jimi Hendrix was unfathomable (she grew up in the 30's and 40's), but she came around (a bit) when I played "Little Wing" and "Castles Made of Sand" for her, and "Up From The Skies" -- especially the Gil Evans' versions, and the link. Anyway, I can't wait to dig into all this new Hino material, and I sure hope it gets here before I head out of town.

Great find!! Which also mentions Richie several times... Harold Mabern gives Bud’s brother Richie Powell credit for the bitonal piano intro on the Clifford Brown/Max Roach “Delilah,” saying it was a source for McCoy Tyner’s harmonic innovations. Tyner himself name-checks the younger Powell in an early interview for his “sustaining chords.” And then this is much farther down in Ethan's post, from a Downbeat interview with McCoy in 1963 (there's WAY more of it in the above link, but here's the parts that reference Richie/Richard): I was mainly influenced by records at that time, because there wasn’t too much jazz on the radio. Bud Powell and his brother were living just around the corner from me in Philadelphia, but they didn’t have a piano in their apartment, and Bud came to my mother’s house to play. I wasn’t familiar with his work and didn’t know who he was. It was hard to understand everything he was doing, but I liked it. Judging from the records he made with Max Roach and Ray Brown, I think he had reached his prime then, and I learned quite a lot from him and his brother Richard. THEY [emphasis added by RT] were profound musicians, harmonically and in many other ways. Bud had so much taste and creative ability that I couldn’t help learning from him. You are exposed to so much music today that you cannot always pinpoint influences. I know that when I used to listen to Max Roach’s band I was impressed by the harmonies Richard Powell used to play and by his use of the sustaining pedal on chords. In fact, one of the strong points of his playing was his beautiful harmonic conception. I never copied what he did, but I certainly appreciated it. I may find myself playing a phrase from another musician, but I never consciously copy, Guys ask me sometimes how I do this or do that, but I don’t have any preconceived formula. You can almost subconsciously acquire technical devices, of course, like Richard Powell’s way of sustaining chords. I think another musician can show you the way, maybe inspire you, but I’ve never wanted to be an exact copy of anyone else. I’m [only!] 24, and I guess I’m still evolving. You can’t rush maturity. —MCCOY TYNER AS TOLD TO STANLEY DANCE IN 1963 So that's like 4 specific references to Richie in this interview with McCoy in '63 -- which is quite a fair number.

Maybe it is Richie Powell?? Happened to be looking at Richie Powell's Wikipedia entry this morning (I was barely aware of him, I'll confess (), and looked him up wondering who the piano-player was on Sonny Rollins Plus 4 that came up on my Pandora this morning while I was on the subway) -- and there's a couple good pieces of circumstantial evidence in Richie's Wiki: [Powell's] relatively heavy touch and use of left-hand fourths influenced fellow pianist McCoy Tyner. (unsourced) Pianist McCoy Tyner, who grew up close to the Powell brothers in Philadelphia,[41] was influenced by their relatively heavy keyboard touch and their liking of percussive piano sounds.[42] Tyner also got some of his inspiration for chord voicing from hearing Richie's use of left-hand fourths.[43][44] McCoy's Wikipedia page also has sources that confirm that both Powell brothers were "neighbors". There's a Hal Leonard sheet music book (Jazz Giants: McCoy Tyner), that's one source (footnote #43) -- anybody have a physical copy of this? Footnote #44 is a lot more obscure: "Music in the USA – A Documentary Companion. Oxford University Press. pp. 644–45." OK, HERE WE GO... You can "preview" the "Music in the USA" book via Google books, and see parts of a whole interview with McCoy HERE. Then click on the "page 643 >>" hotlink right above the small quote, and that'll let you see that whole page, and the next few pages". McCoy talks about various specific details of Richie Powell's influence. Page 645 (FYI, the google preview will only show pages 643 and 645, but not 644 - rats!): But thus sayeth McCoy (on page 645): "Another person is Richie Powell. He used the sustaining pedal sometimes when he was playing with Max, and I heard that sound. The voicing wasn't the same, but he would use the sustaining pedal sometimes to get a flowing type of thing, because he wasn't really that technically a proficient kind of player. And then Bill [Evans] came along..." There's also a brief mention of Richie on page 643, but it's more of a fleeting mention (that McCoy heard him with Max and Sonny, and that McCoy had played with Sonny too, back when he (McCoy) was 18). AND, then from this -- CLICK HERE -- Richie Powell was buried just outside of Philly, barely 5 miles north of the city limits (in an all African American cemetery). And let's remember McCoy's quote that kicked off this whole thread: There is a piano player in Philly who probably may never leave; however, his talents and directions had a great influence on my playing.” "In Philly" (McCoy said this in 1973) "who PROBABLY MAY NEVER LEAVE". That "probably may" is a weird construction, and I wouldn't be at all surprised if he was refereeing to someone to who was deceased (and buried in -- or just outside -- Philly). There's your answer. Put two points on the board for the Rooster.

Oh, yeah, This one!!

Cool! But what I've been wanting to see for years, is the Tribute to Jack Johnson doc, with all that Miles Davis soundtrack in its originally envisioned context. How is is that none of that JJ doc has ever been been uploaded to YouTube, or any other steaming video site, DailyMotion, etc... -- ?? I've searched for that thing every 6-10 months for years, and next seen so much as a clip even. What gives??

Wasn't at the time, but it was an individual CD in 2002 - ?

Coltrane also pretty directly influenced the writing of "Eight Miles High" -- and The Byrds used to play "Milestones" in concert too. Check this out, at about the 10:00 mark (theme comes in at 10:05)...

Well, Miles is in the RnR Hall, isn't he? Why not Trane?

Spinning Theo this afternoon, which I do at least once or twice a year. What a fantastic album!!! Where do I sign up for the sequel? (Not half-kidding either.)

I have absolutely no doubt whatsoever about John Huston in this film. His 15-seconds in the 2-minute trailer convinced me of that. And frankly. that's HALF the reason I want to see this film. I was just going to run it off Netflix at work, with the projector at work - after hours.

I'm certainly NOT suggesting anyone/everyone has to adopt the same practice I have. And I'll be the first to admit that if I found something I wanted bad enough, I wouldn't think twice before buying an Andorran product, or similar. Went out of my way to buy this Sun Ra "Horo" CD reissue of questionable origin several years ago. My apologies if I came off as a bit more "holier than thou". I could have more artfully said that I'm semi-glad to pay double (or maybe even up to triple) for a legit CD issue of a title, rather than a cheaper Andorran option -- meaning my preference for legit product is worth it (enough) for me to pay more for the real thing (on CD). But when it comes to stuff that's NEVER been on CD, and if the only other options on LP are 5x as expensive (or worse), I'm sure I'd come to the same conclusion/decision as you (like with the Hodges on Verve).

Thrilled to hear such a positive report! To be honest, not having seen it, I am (was?) a little trepidacious about 'programming' it for an after-work event (at work). How 'significant' are the R(?)-rated aspects of the material? Is this something I really shouldn't even consider trying to do for an after-work event, with a mixed-gender batch of co-workers? I mean, I guess I'm sort of asking from an *HR-perspective* too -- no small issue in this day and age (and I'm NOT trying to get into a debate about that -- it is what it is, and I wouldn't want to open a can of worms here trying to pontificate about whether that's the way it should be, or not). I'll cut to the chase -- how 'gratuitous' is the nudity? And is it fleeting? Or more lingering? Like are we talking 1-2 minutes at a stretch a couple times? (Or part of the crazy, fast, jump-cutting "movie within a movie"?) Or more like 1 or 2 full *five-minute* scenes that are going to be a lot more awkward?? I wouldn't care much if it were half of our staff all going to a showing in the art-house movie theater down the street -- but what I'm suggesting is a hemi-demi-semi-sanctioned "work" event *at work* (on a half-big screen in our auditorium, so I can ostensibly "see it in a theater"). And the more I'm thinking about it, I do not want to get anyone (least of all myself) in any hot water, about the content. Worst case, I could probably buy our tech guy a six-pack, and have him set a up a private showing for a dozen of us -- a much more carefully limited audience (of co-workers, and maybe some , that I could more easily say "hey, there's gonna be some of 'this' in the film -- just so you know". FWIW, we are an organization that's mostly "adults" (not just adults), and I suspect the interest -- given the age of the film -- will result in nearly all intelligently "self-selected" folks. But I guess I still don't want to run afoul of better judgement (and my concern is that "better judgement" would say pay off the tech-guy to show it for less than a dozen of us, and don't pitch the invite more widely (internally only, of course -- this ISN'T a public showing). Any advice? Thanks in advance!

I'm still pissed that Justin Beiber got a nomination for Album of the Year the year David Bowie's magnum opus Blackstar didn't even get nominated... ...and if you all will permit me a 'Chewy'-esque moment -- Blackstar should have been Album of the Decade. Harumph!!

Here's the table of contents (at least all the artists, anyway). The two I know best are Terumasa Hino (by a mile! - I've got close to 20 discs he's on), and Shunzo Ohno (who I'm just discovering I really need to find a lot more of, and love what I've heard and sampled so far - and I'm just remembering even heard him live once in Buster Williams' group in Kansas City in the late 90's, iirc). I think I recognize 3-4 other names, but don't really know much (if anything) about any of them. Of those, Cuong Vu is probably the only other name I've heard much by (not a lot, but 3-4 releases he's been on, mostly as a sideman). CHINA: Bai, Lin 柏林 (page 3) Dai, Zhong-Hui 戴中暉 (page 7) Ji, Ruei-Kai 冀瑞凱 (page 11) Shiu, De-Jiu 許德舉 (page 14) Xia, Zhi-Qiu 夏之秋 (page 17) HONG KONG: Chong, Pak-Fu (“Jacobus” Chong) 莊伯富 (page 24) Delfin, Danilo (page 27) Fung, Kai-Man (Kenneth Fung) 馮啟文 (page 30) Wong, Yat-Chiu (“Alfonso”) 黃日照 (page 34) JAPAN: Baba, Toku[yuki] (“Toku”) 馬場督之 (page 38) Hara, Tomonao 原朋直 (page 45) Hino, Terumasa 日野皓正 (page 49) Miyashiro, Eric (page 53) Noguchi, Hiro[fumi] 野口浩史 .(page 56) Ohno, Shunzo 大野俊三 (page 60) Okoshi, Toru (“Tiger”) (page 66) Sato, Tomonori 佐藤友紀 (page 72) Sokabe, Kiyonori 曾我部清典 (page 75) Sugiki, Mineo 杉木峯夫 (page 83) Tamura, Natsuki 田村夏樹 (page 87) PHILIPPINES: Parin, Fredeline (“Poppee”) Rezare (page 90) SINGAPORE: Chen, Jia-Min 陳嘉敏 (page 95) SOUTH KOREA: Ahn, Heechan 안희찬 (page 99) TAIWAN (REPUBLIC OF CHINA): Bee, Xue-Fu 畢學富 (page 103) Chen, Chang-Po 陳長伯 (page 106) Chiu, Chien-Erh (Miles Chiu) 邱建二 (page 111) Deng, Hsei-Ping 鄧詩屏 (page 114) Nei, Chung-Shin 聶中興 (page 117) Peng, Kuo-Liang 彭國良 (page 121) Wei, Kuang-Hao (Stacey Wei) 魏廣晧 (page 125) Yeh, Shu-Han 葉樹涵 (page 131) THAILAND: Chanoksakul, Surasi (page 136) Chongjirajitra, Lertkiat (page 139) Pookaew, Somjate (page 142) Puengpreeda, Sompop (page 150) VIETNAM: Vu, Cuong (page 153)

Amazing what Google will turn up sometimes, when you're digging around for something only semi-related... LOTS of names and threads for me to followup on in this 180(!) page paper... https://repository.asu.edu/attachments/178501/content/Tsai_asu_0010E_16614.pdf Biographies of the Most Influential Twentieth Century Trumpet Players in Asia by Shao-Chun Tsai A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved October 2016 by the Graduate Supervisory Committee: David R. Hickman, Chair Rodney Rogers Deanna Swoboda ARIZONA STATE UNIVERSITY December 2016

I'm a little pissed at Netflix for only screening The Other Side of the Wind in the absolute bare minimum number of theaters (in order for it to be eligible for or Oscar nominations) -- in NYC and LA only. I *really* prefer seeing films in theaters, whenever possible -- especially something like this (almost anything pre-1980). So I'm conspiring to get it "shown" in the auditorium where I work (after hours), as a fun after-work thing just for other film buffs on-staff (and maybe a few spouses, if there's any interest). NOT a public showing -- probably 10-15 of us, tops. Sometime in January, probably, or early Feb. QUESTIONS: How long are the other two related documentaries?? Ideally it'd be nice to see the film, and both docs -- as a sort-of "triple bill" -- but how long would that all be?? I'm also curious about a suggested viewing order, especially if more than half the audience probably won't be the least bit steeped in Welles. I'm thinking... Feature-length Doc. (Is this an hour, or more like 90 minutes??) The film itself (122 minutes, according to Wikipedia -- so 2 hours) The shorter(?) film-reconstruction doc (if anyone is crazy enough to stay for that too) - guessing 30 minutes?? How long does that all add up to? (I'm not on Netflix myself, I'm afraid.) Thanks!!

I would say The Cure have been "like nothing I'd heard before" to quite a number of folks. It's easy to say they're a "goth" band, but I think Robert Smith is a "voice of a generation"-sort of icon. Maybe not THE voice of a generation -- but he's one of THE biggest of maybe a dozen voices (12 tops) that define the sound of an entire genre. Peter Murphy is another (Bauhaus, but Murphy's solo career has been as important, I'd argue). Robert Smith (of the Cure) has written a dozen big hits, but also a handful of truly iconic albums -- that really work as albums. And he's had a number critical successes over 20 years, out of a career that's just shy of 40 years. He (Smith, of The Cure), and Radiohead -- are the two most important of any of those being inducted this year -- and both are arguably as important as anyone inducted in the last 5 or even 10 years. Certainly Radiohead is, and I'd argue The Cure too. The Cure were one of maybe half-a-dozen of THE most iconic bands of my college years (87-91), and the "college years" of those who preceded me in school by 4-5 years. And that was almost ENTIRELY based on the music, and not "image" or the popular "look" of the band. Just my take.

Here's Charlie Mariano, with an all Japanese group in 1964(!). I only know just this one track, discovered just yesterday(the only thing from this album I've been able to find online), but MAN, this kicks ass!! And it's just out on CD too!! - I think for the very first time on CD. I may just have to get this one! - at some point, anyway... https://www.dustygroove.com/item/900142 And despite the inclusion of piano here, this reminds me a lot of the "sound" and "feel" of those two Albert Manglesdorff piano-less quintet sides for CBS in the early-to-mid 60's. Not all chord-heavy, and the approach on piano is almost like the way Herbie just plays lines with Miles, circa 1965/66. QUESTION: Anybody know if the rest of this album is like this? This one track is just blowing me away right now.

FWIW, though, I rarely (almost never) buy the Andorran stuff on CD, unless occasionally I'll find some live thing that's more a bootleg of something never released legit. But I really dislike the Euro barely-legal "pseudo"-public-domain stuff. Never say never, but I generally avoid that stuff like the plague. And I have bought a tiny number of things on vinyl, when they were "available" on CD through Freshsound, and the like. Maybe 4 LP's, but still, much as I prefer CD -- I really hate the Andorran crap.

I'm totally down with their 3rd, 4th, and 5th albums -- crazy good! Lot less so with #1 (don't know/have #2 yet). But I get off the boat after #5 -- totally different vibe after that (and one that's not for me). Took a while to get used to Brian Ferry's voice, and his nutty intonation -- but it's an "acquired taste" if the context is right (and the context of those RM albums #3-5 is really damn tasty!!). It's the band's sound that's the draw for me, a lot more than Ferry's voice -- though I'll admit it's definitely 'interesting'. This song (from album #4) kept coming up on a David Bowie seeded Pandora channel I had a few years ago, and I was blown away every time. Like primordial Duran Druan! I could not, and still cannot believe this is from 1974...

Happy Birthday, from Joel and the cats!!!

Arguably one of the better batches of inductees to RR Hall in years. The Cure especially, imho, and Radiohead too pretty obviously. Not a huge fan of all of them, but not a single one leaves a sour taste in my, um, er... ear!

Someone else should first, and beat 'em to it.

Here's Charlie Mariano, with an all Japanese group in 1964. I only know just this one track, discovered less than 10 minutes ago (the only one I've been able to find online), but MAN, this kicks ass!! And it's just out on CD too!! - I think for the very first time on CD. I may just have to get this one! - at some point, anyway... https://www.dustygroove.com/item/900142 And despite the inclusion of piano here, this reminds me a lot of the "sound" and "feel" of those two Albert Manglesdorff piano-less quintet sides for CBS in the early-to-mid 60's. Not all chord-heavy, and the approach on piano is almost like the way Herbie just plays lines with Miles, circa 1965/66. QUESTION: Anybody know if the rest of this album is like this? This one track is just blowing me away right now.

I'm also rather fond of McCoy in the late 70's and around 1980, towards the end of his run on Milestone. Two albums that come to mind are: Together (Milestone, 1978) -- with Freddie Hubbard, Herbert Laws, Bennie Maupin, Bobby Hutcherson, Stanley Clarke, and Jack DeJohnette 13th House (Milestone, 1981) -- with a 13-piece small big-band.