Rooster_Ties

👍👍👍 Nice one!!

A friend bought me a copy of Herbie’s autobio several years ago, and it’s an enjoyable read (been about 5 years ago when I read it).

I’m not CJ, and I don’t know what’s ‘right’ — but right or wrong, I have a tendency to capitalize the ‘B’ in ‘Black’ in most cases when using it as shorthand for African American (just a habit I’ve had for 20-30 years) — and I’d do the same with Black British (a term I have less need to use). That said, if I’m already capitalizing ‘Black’, I think(?) I would naturally be tempted to capitalize the ‘E’ in ‘Excellence’ too — because “Black Excellence” looks better to me than “Black excellence”. Also, as it’s used here, doesn’t “Black Excellence” sort of feel like a collective noun almost? Not technically probably right, but that feels right to me. Anyway, I probably would have capitalized the whole term too — even if that’s not what style guides say to do (fwiw). THAT SAID, there are a few other proofreading things I noticed too (though god knows I don’t proofread my own stuff enough most of the time).

I’m irrationally offended by the orange-cover clearly not-licensed ‘reissues’ specifically of Blue Note studio material — from what I had always presumed was a legit label. ‘Incensed’ is clearly too strong a word, and would just be hyperbolic — but they do kinda piss me off whenever I see them on Dusty Groove website listings.

Ouch! (Dan) — and, indeed Chuck, that car accident really does suck, especially to such a new car. Is your insurance paying for a rental, even though it’s gonna take extra long to get parts? (Sure hope so.)

Got an email last night that the Australian outfit had just shipped my order — so to their credit, they got my five shirts out the door in less than 24 hours (and I’m sure they’re printing these things to order).

Yeah, that Judgement shirt from Uniqlo is just about the best ever. All my Uniqlo shirts have held up really well, but so have the non-licensed ones I got from the UK — and the one I got off eBay too, come to think. (All the ones I reported on upthread — none of them have shown any signs of wear, or the transfer not adhering perfectly well). Very happy with all that I’ve purchased.

Ok, late last night I took the plunge with the Australian site… https://albumcoverstickers.com Apparently I’d created an account with them a couple months ago (maybe I had to, in order to test the $100 purchase gets your free shipping even-to-the-US offer). Anyway… …as a result, I got an email out of the blue yesterday with a Cyber Monday 15% off coupon code for their entire site (and had to act fast, because of the huge time-difference). So 15% off took their $25 shirts down to $21.25 each — and then buying 5 of them got me over the $100 threshold for free shipping. So I got three for me (Hill: Passing Ships, Monk: Genius of Modern Music Vol 1 (the bad-ass 10” cover), and Henderson: Mode for Joe). Bertrand wanted a Shorter: ETC (LT cover). And an Ornette: NY is Now for my buddy Joe, back in KC. (We all got them on black shirts.) It should get here in 15-30 days (shipping is 10-20 days alone). But $106.25 total for five shirts (free shipping, from Australia) ain’t half bad — truly $21.25 each, and no tax even. No telling what the quality will be like, but nothing ventured, nothing gained. I’ll certainly report back my findings.

I probably agree… Though I’d add that the peaks are higher (a number of really true “greats”) — and the troughs lower (a fair number of kinda “meh” dates) on the one more uneven label… …Whereas the more consistent label is nearly all “good” — but with very few truly “great albums”. (Assuming, of course, that we agree on which label is which!! )

Nice recent Anam Neely video on the general subject of copyright, using throughout the very example in this thread...

Drat, I seem to be missing 2-3 issues from 1983 (including July). I thought my uncle (he subscribed in about mid-1964 up thru the early 90’s) had kept and filed every issue, and he did for most years — but a few years have a gap or two here and there. But I’m just seeing inexplicably he had two(!) copies of the Dec 1983 issue — both of them with his mailing address label still attached. Sorry to not be of help with July ‘83 — unless it happens to be misfiled with some other year. I’ll try and look through all the 80’s folios later this week, and see.

I probably have a hard copy, I’m pretty sure — and if so, I’d be glad to scan it.

I too have read Michael’s liners numerous times, and been super impressed almost every time. I’d preorder a whole book in a heart beat, and even contribute to a Kickstarter (as a vote of confidence), should such an arrangement happen to be necessary. All the better if it were a combination of history personally witnessed, and memoir.

See also: Old and New Dreams

I’ve had this date on CD for eons, but I have to confess I don’t feel like I’ve ever fully connected with it as much as I might have expected. It’s still “good” — but (including ‘live’ releases) I probably have a dozen+ other Shaw leader-dates I reach for first a lot more often.

What’s the story with the half-an-album on Dawn? Leftovers from another session? Was it on an album with one artist on one side, and another artist on the other?

I got a “under maintenance” last week when I came to it via my old (saved) link from my iPhone — the one that displayed new posts. Did that for several days, even after (I later learned) the board was back up and running. Deleted that shortcut, so I don’t have it to share — but I suspect that’s the problem.

Aural evidence of musicians really listening to each other, closely (and responding in kind, even if only in subtle ways) — especially when playing live. AKA, jazz with multiple players needs to be a conversation, and I need to be able to hear that. (And far too often it isn’t, and I don’t.)

I’m not sure I “need” everything that I definitely “prefer”… …but some things that definitely push my buttons harder include… At least some modest amount of collective improvisation (think Lee Konitz & Warne Marsh together). Or some degree of interplay between a soloing instrument and the rhythm section that seems much stronger than just simple “call and response”. Doesn’t have to be ‘frenetic’ — but something that isn’t solely divided into predictable (metrical) time-intervals. ”Free” or “free-ish” playing is better (for me) when there’s also some sort of repetitive ostinato (usually in the bass, but it can also be in another chordal comping instrument). ”Left turns!!” — stuff that isn’t entirely out of character for the tune, but turns that aren’t predictable or stuff you can see coming a mile away. Pedal-point bass and/or static harmony is also often a BIG plus — but only as long as the other improvisational components are sufficiently ‘interesting’ too. ”Inside/outside” playing (Sam Rivers’ Blue Note output is a good example, as well as Grachan Moncur and especially Andrew Hill). It doesn’t have to swing, but a pulse and/or a strong sense of forward momentum with some sense or “rhythmic organization” is hugely helpful too. In fact, some of my favorite players don’t ever swing: i.e. Gary Thomas. Those are just a few off the top of my head.

How is the live date (2 volumes, iirc) with and under Warne Marsh’s name (and leadership) in ‘57? I’ve been eyeing it for a a few months, but haven’t investigated further. This one… https://www.discogs.com/release/6162661-The-Warne-Marsh-Quartet-Featuring-Joe-Albany-Live-At-Dana-Point-1957 https://www.allmusic.com/album/live-at-dana-point-1957-mw0000719602

❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️ My wife and I had the scherzos from each of Foote’s three string quartets played at our wedding 21 years ago. And more accurately, we used the arrangement Foote did himself if the scherzo from his 2nd quartet, for flute and quartet (the very one on this CD) — as the final piece before my wife walked down the aisle. We had a fantastic quartet and flautist of all KC Symphony players for the whole thing, including the first-chairs of the 2nd violins and violas, and the second-chair cellist — and principle flautist too (iirc). They all played in an annual summer chamber-music series in KC, which we attended religiously for years. Very tuneful, and danceable music. Fond memories. We went crazy with the music, not surprisingly — the one area we really maxed out on getting exactly what we wanted.

I’m usually a hard-pass on anything with the Mizells — at least definitely as far as studio stuff. But I’m gonna see how this sounds when it’s all streamable — and I’ll bet I’ll end up getting it in the long run (probably six months after it comes out).

First track…