Rooster_Ties

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.

Same. I'll buy old vinyl when that's either my only, or best (way cheaper) option. But given the option, I'll always go for something on CD, even if I have to pay a premium. Doesn't mean I've never held an LP in my hands with a killer-cool gatefold cover, and though "mmm, this would be really nice to have". But then 99.99% of the time I'll put it back, long as I've confirmed that it's not too hard to get on CD (and won't set me back 3 days salary).

What's up with so many Terumasa Hino albums starting with *ballads*?? Both some of his studio albums, and even some live albums. My sample is nearly all pre-1978, but I'm guessing close to 1/4th or even 1/3rd of the Hino leader-dates that I have are like this. I don't think I've EVER seen an artist who side 1, track 1 leads off with a straight up ballad (and not even a mid-tempo one), as often as Terumasa Hino. No one even comes close. Was "Alone Alone and Alone" his "Sidewinder"? -- and so the record companies kept demanding more 'hits' from him like "Alone x3"??

Just for giggles, I just looked on the Dusty site, and 3 of the 4 new "Deep Reality" Hino titles are "Just Sold Out!". Glad I jumped on it when I did (like an hour after the email). I wonder how many copies of each title they (Dusty) ordered?

I suspect a few of them will be a little more relevant to my interests, than others. For instance, depending on how far "out" some of them get (and how far out they STAY), that'd probably be a big factor. But I'm hoping I'll only have any serious buyer's remorse for one of the four of them. I know, at $30 a pop (ouch!), I was really taking an expensive chance -- but every once in a while, you just have to go for it, and hope for the best. To be clear, I don't expect I'll really strongly regret having gotten any of them -- but, rather, there could easily be one (or hopefully not two, but maybe two) that I certainly might have NOT been willing to pay $30 per CD for (but I might have still bought for something more like $15). Guess I'll know in about a week or so -- or after I get back from the holidays.

OK, whew!!! Just got a shipping notice for my Dusty order, placed about 65 minutes after I got the email this afternoon. And I successfully got *all four* (4) of the new "Deep Reality" Hino discs, plus one of the other Hino TAKT titles that I already had (but the new version has a bonus track/alternate). So then the only Hino TAKT title that I don't have is "Feelin' Good" (which I just cannot bring myself to pay $25 for) -- but I've got ALL the rest. My wallet absolutely hates me now, but I cannot resist all these great Hino titles. And as others have said, the new TAKT mini-LP style reissues are nice as can be (and I otherwise am not all that hyped about mini-LP's). Devastatingly wonderful music. Probably one of my top-10 favorite trumpeters, of all time. EDIT: Also got Masabumi Kikuchi's "East WInd" on CD too (same order), also with Hino. Been meaning to track one of these down for ages.

Track-listing is here, and perhaps another clue or two? https://lightintheattic.net/releases/4485-call-me-jazz-from-the-penthouse-featuring-roy-ayers

Whew!! Glad to know!! I already have an SHM issue of Out To Lunch (with the bonus material), but it's something really everyone should have. And the upgrade in the sound quality (something I normally never worry too much about), is really noticeably much better (like light-years better). Great news!!!

No indication (one way, or the other) whether these have any of the new bonus tracks previously only on the semi-recent SHM issue of some of these titles. Here's the Dolphy OTL. Would be a shame if these didn't include those extra tracks... http://www.cdjapan.co.jp/product/UCCQ-9432