Rooster_Ties

Turns out “Marvin’s Song” was written by brother Tommy, but there’s nothing in the liners specifically about it. All the liners are visible in the release images, here… https://www.discogs.com/release/3567716-Stanley-Turrentine-If-I-Could

The first search hit on: Stanley Turrentine “Marvin” (W/ quotes only around “Marvin” to get better results) Edit: AND, this guide to famous internments at the cemetery where Stanley was laid to rest, mentions a brother Marvin, who is also referenced as playing drums… http://alleghenycemetery.com/wp-content/uploads/2018/04/turrentine.pdf This source (perhaps needs verification, it’s a ‘wiki’ style database, but I have no reason to disbelieve it) says Marvin died in 2002… https://www.wikitree.com/wiki/Turrentine-532 And this next link might be as interesting a lead as any, but I’m on my phone, and can’t access the pages of the issue in question very easily on such a small screen. https://issuu.com/michronicle/docs/npcourier2.19.20 This next one says he died in Vietnam… https://jazzprofiles.blogspot.com/2016/12/stanley-turrentine-texas-or-pittsburgh.html?m=1 This one has a reference to “famed Pittsburgh drummer Marvin Turrentine”… https://newpittsburghcourier.com/2020/02/26/a-dream-come-true-mobutu-and-charlotte-ka-open-moka-art-gallery-in-the-hill-district/

Plural? Who else, besides Tommy?

There really were two Stanley T’s, no? Obviously two sides of the same coin, but his fast, bop-ish playing, brimming with ideas — seemed almost distinct from what he brought to his soul jazz sessions. (No value judgement implied, and I’m not exactly trying to suggest his soul jazz playing was ‘lacking’ — even if I’ll admit a preference for the former). He did seem like two different players — or his playing on different kinds of dates even within the same year — could easily be mistaken for being two different people. Here’s one, with Stan firing on all cylinders right out of the gate… vs a different, more soul and swingin’ approach…

Re: my prior observation, I was listening closely to both “Intuition” and “Digression” a few times each yesterday walking home from work — and I was struck how Hindemithian (Hindeminty?) “Digression” seemed to me especially. I don’t know enough to argue why (in a music theory sense) — all I know is I’m left with the very same feeling I get listening to any number of the numerous sonatas for solo instrument + piano that Hindemith wrote. Both of them crackle with moment after moment after moment — that, *if* it was all through-composed, would nearly all be fascinating ‘ideas’ (by which I mean premeditated compositional decisions) — but of course, that wasn’t what was going on. Also, neither track relies on the nervous energy one usually associates with free-playing. “Digression” feels like a relatively calm, self-assured (collective) tightrope walk.

I had either “Intuition” or “Digression” come up randomly on Pandora the other day (with my earbuds on, out walking) — and “refreshing” is *PRECISELY* the right word to describe the experience of hearing it out of blue like that — meaning NOT having it preceded by an hour of other Tristano and Marsh material (as it’s programmed on the 76 minute long Intuition CD).

Rereading just the new details we have so far, I have to say this set looks incredibly good on paper, and a real treasure trove.

So what’s the story on Dot Time? I was about to say I’d only heard of them before, but I see I do have this one release of theirs — an album by Phil Markowitz (piano) and Zach Brock (violin, very much out of the Jean-Luc Ponty school, and very favorably so imho) — which I quite like… https://www.dottimerecords.com/product/perpetuity/

Hope springs eternal, for this!!!! Date: February 11, 1971 Location: New York City Label: [television broadcast] Andrew Hill (ldr), Carlos Garnett (ts), Woody Shaw (t), Andrew Hill (p), Victor Sproles (b), Roy Haynes (d) a. Grass Roots (Andrew Hill) b. Bayou Red (Andrew Hill) Broadcast on WNET-TV program "Live! On Soul"

Lookee, lookee!! DETAILS!!!!!! https://www.mosaicrecords.com/product/lennie-tristano/

Steve Coleman also subbed for Branford on part of that tour, as seen here… Edit: to say that I still enjoy Sting’s first 3 solo studio albums, i.e. the “jazz-adjacent” ones (along with the live Bring on the Night) — but after that, Gordon is just hit-n-miss for me (mostly miss).

I’m normally not curious about such details, but I wonder what sorts of substances Woody might have been using (and not managing well). Just alcohol? Or illicit drugs worse than weed? No reason for my curiosity, and I’ll admit feeling a little strange wondering. Brilliant mind — and an absolutely brilliant technique (at least for a solid decade). For a solid 5 or maybe even 10 years there, I’m certain there was no one better on his instrument than Woody. I should probably already know this, but did he top the polls much? Ever? Probably not, or he’d be better known (I have to remind myself he’s not better known now). One other observation: I’ve heard about 3 audio-interviews with Woody over the last 10 years, and I was struck how much chutzpah he had. Some might even say to the point of arrogance, or that he even ar least sounded pretty conceited. I’m not trying to pass judgment, other than to say that whatever sort of personality traits I thought I might have heard in those interviews, they certainly didn’t match my expectations. (Granted, those were interviews, and not just recorded conversations.) Just something I noticed, that really stood out to me.

I’ve only owned the material in the 2cd set configuration — with its division of the more inside/structured material on disc 1, and the more outside/free stuff on disc two. I’ll have to look up the original IS album configuration, and see what of the out/free material is represented (as I’ve listened to the ‘inside’ disc 1 of set about 10x more over the years, than the ‘free’ disc 2 material).

True story, but hit play this while you read below... So the (now former) choir director of our Unitarian church here in DC ~8 years ago had his and his wife's first baby -- they sent out a birth announcement by email, with pictures of the little guy (cute as a bug, btw, at least as far as newborns go). One pic in particular, he was even smiling. So about 2 months later, the choir throws a little afternoon party/potluck to celebrate the little one -- and everyone brings presents. My wife and I got them some of the standard stuff, onesies, whatever, I forget. BUT, I also put together, rather crudely in photoshop, a brand new CD cover for a fictitious "Arnold Schoenberg For Babies!" CD -- using an actual picture of said choir director's newborn son on the fake cover. (You know, made up to look like those ubiquitous "Mozart for Babies" compilations, etc...) And I wrapped the fake cover I made around the liners for an ACTUAL Arnold Schoenberg CD, slipped it back in the jewel-box -- which you are by now listening to above. If you accidently clicked it out to YouTube and can see their title, it's NOT in fact for piano-four-hands (an error in the YouTube upload listing). But it *IS* a lovely, contemporaneous arrangement/reduction of Schoenberg's wind quintet (op 26) -- arranged for piano & flute!! (which can also be performed equally well for piano and violin). Anyway, it really is light, and dancy -- and (YES!!) -- it's ACTUALLY Arnold Schoenberg, but in a form that's perfectly appropriate for babies!!!! Said choir director and I had discussed all sorts of 20th century classical music at various points off and on the prior two years (since I'd met him), so this was TOTALLY a gift that (in retrospect) he would have expected from none other than ME to have given him, for his brand new little munchkin. That was the LAST movement of the quintet above, and here's the first movement (a little less busy). To say I was rather proud of having come up with this idea, would be putting it rather mildly.

The only Blue Note / ENJA artist 'crossover' I can think of would be that single (long) Hutcherson-Land track "The Creators" from the various artists live ENJA release Live At The Festival. https://www.discogs.com/release/2801706-Bobby-Hutcherson-Harold-Land-Bill-Evans-Eddie-Gomez-Archie-Shepp-Karin-Krog-Live-At-The-Festival Or is there anyone else besides Bobby Hutcherson I'm forgetting? Just curious what Blue Note could have even been considering.

BMI charts have a technical (numerical) definition for “obese”. I know, because I’ve fit that definition for most of the last 15-20 years. I doubt the technical (medical, numerical) definition of the term has changed in 40 years, but our perceptions of what should qualify as “obese” has been a moving goalpost, as the population (myself included) has gotten heavier, and heavier over the last several decades. My current BMI is slightly over 32 — but anything over 30 is (medically speaking) “obese”. I’m still pretty proud of that 32, because it was over 36 a year ago (and I’ve lost 30 lbs since then). if you’re currently a BMI of 31, then medically speaking you’re “obese” — but (yes) loosing a few pounds would put you down into the lower “overweight” category — as little as 10–15 lbs, depending on one’s height. Source: I’ve let myself become a lard-ass for most of the last 10 years — although I did get down to a BMI of 29.3 about 6-7 years ago, but immediately let myself go again.

True, but a missed opportunity of a sort too, at least in terms of a title that would always bring a smile to my face, and even a sensible chuckle to go with. Lee Konitz pun album titles (or song titles) abound — but I’ve always had a fondness for this album title (for its silly pun), admittedly not based on his name for a change… Warne Out would have done the same.

Yeah, hell of a good point. He was sure going strong when I saw the Arkestra under his leadership 3 times, almost 20 years ago.

Amen to that! Stay strong, Allen.

Can't remember the last time I gave any of this a spin -- likely to spin the entire thing over the course of this evening (on disc 1, track 3 so far)...

I’ve got an iPhone 11, and I think I got wired earbuds with it (included). I’ve never owned wireless earphones, and use wired earphones (the standard Apple type) all the time, albeit the kind that plug into the same port as the charger goes into (the lightning port might be what it’s called, I forget).

Me too.

Where’s more footage of whatever this is from? I gotta see if that tie Monk has on has a square end. Looks a hell of a lot like a Rooster brand Thai silk (with those slightly iridescent horizontal stripes). Or maybe an Ernst, which was the next best known square end tie company, out of San Francisco (Rooster was out of Philly, as best I can tell), which were more a polyester blend (but they read a little more like silk than you’d think). I have to know.

It’s just an all-purpose grab bag of 7” picture sleeves, which — almost definitionally — would have been seldom seen by almost anyone (and everyone). The format itself is rarely seen, or certainly not anymore. And other than online pics, I’m not sure I’ve seen more than a small handful of jazz 45’s over the years.

Still wondering if I'm crazy for noticing back in March (what I think) is some rhythmic similarity between Sal and Gary Thomas (even if their core timbre isn't the same), what I described above -- fast runs of punchy non-swinging eighth notes, very evenly articulated. I want to say that what I heard from Sal on that Curtis Fuller Bee-Hive album was similar -- fast, punchy (overall), but very evenly articulated. I guess maybe that's quasi-like a sheets-of-sound thing too (but more in your face, and less of an impressionistic "wash" that Trane's sheets-of-sound produces). Anyway, I'm probably way over my head trying to talk about this stuff technically, so hopefully what I'm trying to say is making some sort of sense.