Rooster_Ties

I got your Rogers Sessions for you. Right here...

Nor Vincent McEwan (trumpet), or Teddy Robinson (drums) -- ?

Thanks everyone. 49, eek!!!

Damn, dirty Andorrans!

I can already tell you there won't be enough live Tyrone Washington footage included, at least for my taste.

If you don't/can't get a copy of the Woody Shaw CBS set, I've got one I'd be glad to send you (in excellent shape). I don't have a specific price in mind, but I would donate EVERY penny directly to Jim for running this board (you can pay him (the board) directly). So while I might haggle to at least get something reasonable for it -- it wouldn't be for my own benefit -- only the benefit of the Big O Board (and I'll even throw in the cost of shipping myself).

8/10, but half of that was educated guesses. Given the amount of Parker I own and listen to (not tons), I was expecting to get 5 or 6 at best, but it didn't hurt that I lived in Kansas City for 17 years (or I wouldn't have ever gotten Jay McShann, and possibly not the Basie one either).

Happy Birthday, most definitely. But where you at, Paul? LAST VISITED 27 Nov 2016

I'd suggest doing an eBay search for "Django Reinhardt Mosaic" specifically in the CD section (maybe click 'search descriptions too'), and then save the search and check the boxes to get eBay to automatically email you when it gets new search hits. I've got a couple dozen such searches set up for specific titles, and have had a fair bit of success that way. Especially for obscure stuff, I'll get an email out of nowhere for a search I set up a year or two ago, for titles that almost never come up very often. Good luck!

I'll be darn, Silver Spring MD, 15 minutes from where I live in DC. Clealy I love the stuff he did with Tyrone Washington, but those 2(?) longer German modern big band tracks are fantastic as well, also from the Brains on Fire stuff (iirc). RIP.

Quite a good set! Been a while since I've taken it for a spin, but I'm not recalling any of the sessions being anything less than really great! 👍 👍 👍

The original (tribute) CD by this group, I want to reinterate, is a total motherfucker. As highly recommended as any tribute I've heard in years.

All I was saying, Jim, was that ABSENT the context of saying that she's just like a whole lot of other players (and naming a few), some of this thread otherwise comes off as pretty mean-spirited, IMHO. But I think you mentioning Eric Alexander puts your prior thoughts in the proper context, and that's what was needed, to help clarify WHY you felt the way you did. Brad (up-thread about 3 posts) picked up on the same thing I did. Of course I know the context of some of the participants here. But just reading over the thread, and not connecting exactly who's saying exactly what -- then I think what's being said takes on a sizably different tone. Not trying to come down on you exclusively, Jim, but I know you and I can dialog on this and neither one of us will get too overly bent out of shape about it. (Also, yours was the most recent posts I was seeing here, that prompted me to chime in.) I mean, she is who she is, and plays how she plays - and doesn't seem to self-purport otherwise. So I'm not sure where there's too much to complain about here. Other than Phil Woods taking a shine to her (or Lee Konitz apparently, which I wasn't aware of), I don't think anyone here would pay her no nevermind. For the record, I've never connected with Phil Woods' music (any of his own leader-days) in my entire life (from what I've heard, anyway). So his involvement in her success (especially early success) hardly seems to matter, at least to me. I have a ton more respect for Konitz, though (than Woods) - but to be perfectly honest, I only have a smattering of his records -- but I gather Konitz has played with Kelly on some occasions(?) - rather than really mentoring her like Woods did. Anyway, the world is filled with overrated child prodigies, far as I'm concerned (or, rather, almost every child prodigy I've ever heard has not lived up to all their early hype) -- but that's how it is with people who find success at an early age (maybe 15 isn't young enough to be in that category, but it's close). And my point is: How is it newsworthy that someone who had a outsized amount of success at a very early age, that they didn't live up to the hype??

Great, but so what? That's true of damn near everybody - isn't it? OK, not everybody, but surely the great majority of players who are barely 25 years old. Or 35 years old, for that matter (judging from my experience as a listener). Why pick on her? I mean, the criticism of her probably isn't unwarranted -- but absent the criticism of others, it does seem a bit extreme to single her out. IMHO, of course. EDIT: And for that matter, there are renown jazz players who've recorded on 100's of albums -- who I feel the exact same way about. And I could name a couple uber-fantastic players who are absolutely capable of playing inspired solos -- who have technique out the ears -- who I've heard phoning it in (live on the bandstand) more often than not. Granted, at an incredibly high level -- but still phoning it in (at their level). For instance, since I lived back in Kansas City for a good 10 years overlapping with him -- I can't tell you how many times I've heard none other than Bobby Watson, for instance, playing relatively tired stuff -- with incredible technical sophistication -- song after song, chorus after chorus. I've also heard him playing his ass off too -- but the tired stuff was more the norm. Crowd always loved it, though, because technically it was fast and admittedly fantastic. So what if she's a shallow soloist. That's true of 8/10 players in this world, if you ask me.

Same group is this album?? http://primaryrecords.org/releases/jacknife-the-music-of-jackie-mclean/ https://www.amazon.com/Lugerner-Kirkpatrick-Richard-Mitchell-Jacknife/dp/B01F7HLH7U I have this CD, and frickin' love it! Was recorded all in one room, with just a couple mics too (iirc), so the sound of this CD is remarkably true to the 1960's recordings it's trying to emulate, IMHO. But I'm also seeing that the line-up for live performances isn't the same as the CD. For instance half(?) this group is different than what's on the CD. So no idea what you heard in SF, but the original CD is really fantastic -- FWIW.

Good advice! Never open any pdf that looks even the tiniest bit fishy (or especially phishy). Word files too, Excel probably too. I don't click on any URL link that I haven't inspected the actual URL that's in (under) the hyperlink. Perfectly legit-looking URL links can sure go god only knows where. Example: http://bunnies-and-sunshine.blogspot.com/ Also, look at the actual email address behind what looks like the email address in your mail client (even if web-based). My wife's constantly asking me about rogue Paypal transactions that we get emails about on our shared home email address -- but when you really look, they're coming from email addresses in Asia, or god knows where. If it doesn't look totally legit, and if it isn't actually coming from who it says it's coming from -- don't click, and sure as hell don't open any attachments.

Under the surface? Yeah, maybe. I don't know for sure, but what's the point of picking on her? - when the same could be said of so many others? I'm sure that's not the stated intention of any one individual posting here, but collectively - bit by bit - might what all's said here add up to the not unreasonable perception of that? (Accurate or not.) I know you well enough, Jim (Jesus, "57,000+ posts" here (plus the old BNBB) well enough, for going on 18-19 years) to know what you didn't mean here. But it's hard not to look at this post, out of the context of the Jim I think I know -- and not read this (superficially) as meaning something a little different than what I think you probably intended. And yeah, I fully realize you could have said the same exact damn thing about some random guy who plays the way she does -- and nobody would think for an instant about busting your balls over it. Maybe that isn't fair. Probably isn't. Doesn't mean that outsiders looking at this thread in total -- people who don't know us might well think [we think] she deserves some extra criticism simply because of her gender. Sorry, but yeah, seriously. What you meant wasn't wrong, I ain't suggesting that. I'm just not sure you said what you meant.

Wow! That's pretty amazing!! >> $76,300 of $75,000 goal

Are there some other 25-year old male sax-players we can rail on too? Because I'd just about bet a couple of my OOP Mosaic sets that there's a shit-ton more guys her age who play just as well (or not well) as she does -- or in contexts that just don't really cut it. I can't say I've listened to her much, though I'm sure I've streamed a video or two over the last 8+ years since she came on the scene. But if she's not my cup of tea (and I can't imagine she is), it's not like she's purporting to be either. She has some sort of audience, and she's playing however she's playing (and apparently singing too), at least semi-consistent with what her following seems to like. And probably paying some bills along the way too. The undercurrent in this thread is that maybe she's some sort of "sell-out" (or at least a bit). Or that she's traded on her youth (though that clock's ticking), and her gender, and perhaps even a dash of her ethnicity -- all in the name of making a buck. God knows it ain't easy making any scratch playing jazz (or singing it), and if she can doing either, I think it's hard to begrudge her that. Maybe her promoters (and/or her most ardent supporters), are guilty of making her out to be more than she really is -- that I'll perhaps grant you. But there's gotta be a hundred of other musicians we could rail on equally, but I suspect none of them will get their very own thread for us to cuss and discuss them -- simply because they haven't got her same unique demographic 'biography' combo going for them. I fully realize that some -- probably many (maybe even most) -- of us are pretty enlightened about gender-politics. Who the hell here isn't an ardent fan of Ingrid Jensen, or Helen Sung, or Carla Bley (or a dozen other names I could mention) -- and a good number of you have genuine musical colleagues who are women, who you respect, dig, collaborate with, and some of you probably have even hired (I don't want that to go unrecognized). Never the less, this thread could go any of several ways. Here's my post to nudge it back in some other sort of direction. FWIW.

Wealthy underwriter(s)?

I'm tempted! Need to find some samples or YouTube uploads of some of this material.

Really digging the tracks with the various male vocalists especially (I'm about halfway through the box so far). Quite a different animal (singing in this sort of context), than I think I've ever heard before. Left turns a plenty, all over the place. Very engaging material!

Hmmm, by Gil - really? I don't know that I ever knew that. (I presume we're talkin' about "Night & Day" - and were there any others similar?) [My Parker knowledge is far more thin (less thick?) than I care to admit.]

OMG, those Applause CD's (and weren't they on LP too?) -- those were just about THE worst sounding things ever. Like 6th generation cassette dubs, only worse. To use a benchmark some here may be aware of: However bad you think Stanley Cowell's "Brilliant Circles" sounds in it's most common Black Lion CD incarnation -- all those Applause reissues were EVEN WORSE than that. Kind of hard to overstate just how bad they sounded, actually, come to think of it. I had at least 2-3 of these on CD at one point - I think there were about 6-8 different Applause BN titles on CD (iirc). Another metric: They actually sounded much worse than the covers looked (which is also saying something).

In that regard, Helen Sung comes to mind -- who started as a classical player, and got her undergrad and master's degrees (both of them) in classical piano performance at UT Austin. I think Jason Moran has also had some and maybe a fair bit of classical training, and I think his hand-independence is a big feature in his playing (though in quite a different way than Sung's). For my money, Mehldau, Moran, and Sung may be among the very best and/or most interesting jazz pianists of their generation. I've heard Helen live 2-3 times back in Kansas City (couple times as a 'sideman' - including one time backing Greg Tardy) -- and twice here in DC (incl. once with Gary Thomas in her band!) -- and she's always amazing. Where does Vijay Iyer fit into this topic? (I must confess, though I've seen his trio live once here in DC a few years ago, I really don't know his music.) My sense is that he's not as technically adept, however amazing he may be in other areas of his skill-set (including playing, though more from the "Andrew Hill" school maybe). I know Moran also comes out of that Hill-school too (very much so), but I think Moran's technical fluidity and pure 'skills' are (maybe much?) stronger than Hill's. Which is to say that Hill did a LOT of independent-handed stuff, but not as 'adeptly' as those with more formal training. Moran also studied with Jaki Byard - where does he fit into all this??