Rooster_Ties

No guesses at all? If it helps any, it was a jazz musician.

Also — alas!! — here was an actual one that sold on eBay recently... https://www.ebay.com/itm/Guitar-Rarities-Volume-One-1934-1946-Various-Artists-RARE-Great-Condition-/174675998484?_trksid=p2349624.m46890.l49292 Have you set up an auto-search to email you whenever a new listing of one pops up?? Looks like this one sold just about a week ago (3/11/21).

Speaking of Flea — can anyone name a musician who recorded with BOTH Freddie Redd and also with Flea?? And can some kind soul post Flea’s story here? I don’t have an Instagram account — and it’s making me log in to see the whole thing. Thanks! (Maybe that’s even what it’s about— but I’m guessing probably not.)

This may genuinely (seriously) be the most brilliant thing I’ve heard in over a year... Somehow, with this new stunning choral arrangement (below) backing the original un-retouched soloist — this choral quartet has actually “fixed” the entire performance, into something gobsmackingly beautiful — and no longer any sort of sonic clusterfuck at all. Still weird, yes, but it now sounds bloody intentional, filled with bold shifts in tonality — but ones that now sound WAY “more natural” — if (still) not quite “normal”. I can’t technically explain the finer points of voice leading, or modulation — but these guys clearly know their shit, and have turned a sow’s ear into one of the finest silk purses ever. But don’t just take my word for it, hear for yourself. This is the total opposite of a “train wreck” — and might be better described as an “anti-trainwreck”.

Special Guitares Vol 1 1937 to 1945 CD (Item 980045) EMI (France), Late 30s/Early 40s — Condition: Used $5.99 ... CD https://www.dustygroove.com/item/980045 Alas, so close! - but no cigar.

How did you find that? / find out about that? If you go directly to the Mosaic site, I can’t for the life of me get it to come up under any of the categories of choices on the left-side. Not as a single, or as a box, or under any of the genre searches. If there’s a way to know that they’re selling partials — or even just one partial — it must be like a needle in a haystack to find.

And with.... Set Design by none other than..... Frank Gehry! Could be, well, interesting! -- I'd imagine. I'm certainly not a fan of everything Gehry's done, but he's nothing if not imaginative -- and some of it I quite like.

I wonder who the lineup is on that new Alex Norris date? (I don't suppose it happens to include Gary Thomas, by any chance? -- Gary was on that one other recent Norris CD from a few years ago.) Though, regardless, I'm curious -- Norris is a great player.

Dr. Lonnie Smith -- "Track 9" (aka "Track Nine") I think I first heard the "original" version of this tune maybe 15-18 years ago, I forget exactly when -- but it was back well before I even realized it was a whole tune separate unto itself (let alone that it even had a separate title even). In its "original" 1971 incarnation, it functions as a breakdown(?) of sorts, in this MUCH longer, side-long version of Sly Stone's "Stand" from Lonnie Smith's 1971 album Mama Wailer. And the song(?) actually has no separate writing credit (as it appeared in 1971), other than the whole side is listed as being by Sylvester Stewart (aka Sly Stone). Specifically, listen starting from 8:20 here (really thru the end of the track, for a good 8+ minutes, although the last minute is just unstructured winddown). I think I've got this first YouTube clip cued up to 8:20 (set with a time-index), but if not, just start it there... OK, then imagine my utter shock when several years later I discovered this from 2004... And then a few years later still, this LIVE version from 2013, with a horn section too!! And yes, for whatever reason, the tune is simply called "Track 9" or "Track Nine".

I presume Bob Brookmeyer played too much piano / too often to qualify here?

One of the things cutting into the availability of vaccine here in DC is that to date, something like 40% of doses here (given inside the District, out of the District’s allotment) has gone into the arms of residents from MA and VA (i.e. suburban DC). All you (they) have to do is work in DC, and a TON of people throughout the metro really do live outside the District (but work in DC). Anyway, those of us who live in DC are ‘competing’ for shot reservations from a pool of people potentially twice as large as just those who live in the District proper. And no, they’re NOT asking for verification of employment location, nor of residential address. Also, you do NOT have to provide SNY verification of underlying medical conditions warranting being in an earlier group (or job function). Best as I’m aware, it’s all on the ‘honor’ system — so I’m sure there are lots of people cutting in line (human nature, I realize). The other thing we’re seeing anecdotally is a clearly disproportionate number of white people getting shots in heavily African American DC wards — but I think that’s more a function of the super-crappy signup process they had for 4-6 weeks, before the new ‘lottery’ system went into place late last week. The old system rewarded people with the tenacity to push past the page time-outs, and false Capsha challenges (you would have to answer 5 more more different Capshaw questions - all of which would fail no matter if you answered right, because the Capsha widget-plugin they used would hit its maximum threshold something like 80% of the time, all the while serving up new Capsha questions that appeared to fail even when right, because it kept hitting a maximum user limit, with no error feedback to end users). In short, you had to hit refresh a LOT, and push through all the false negative “I’m not a robot” challenges. And, let’s face it, there were a lot more affluent people who were able to navigate that fucking obstacle course (more like a mine field, really), and the “winners” (NOT seniors, I can tell you that) were gobbling up all the spots. The new lottery system is MUCH fairer, even though you can still game it (somewhat) by lying about underlying conditions. So while perfect, it’s at least better than the utter disaster they had before since January or early February (whenever it came online). I’m not complaining for myself — my number will come up whenever it does. Just describing the evolving situation here. Also, given the near 90% rate of mask-wearing here in the district — I’m sure there are few vaccine-a-phobes here — making the pool of people enthusiastically wanting to get vaccinated about as high as probably anywhere in the country (I would guess).

No, not directly anyways. Shots seem to either be available only through the city’s registration (and now lottery-based) system — although some (many?) of the vaccination locations do seem to include at least some pharmacies in certain grocery store chains (some Giants, some Safeways). Also, my wife got hers when her doctor’s office system flagged her for being in a slightly higher risk category, and she went to a healthcare system location (not a pharmacy). DC has been struggling, until only very recently, to have anywhere near enough vaccine to even begin to meet demand. But that appears to be starting to change, only just this week.

My wife got her first shot last Sunday here in DC, and my 93 year old father got his on Tuesday back outside of St. Louis (both of them got Pfizer). I’m still waiting on the brand new lottery system here in DC, which only just started on Friday (after an earlier online signup process that crashed almost every day, and was completely ill equipped to handle a demand that was literally 20-30 times the available supply). So I could easily be another month or two before it’s my turn (or my name could get drawn tomorrow — so just no tellin’ when). My wife’s parents parents both got both of their Pfizer shots already (back in Kansas) in early Feb and early March. I’m betting whenever my time comes, I’ll get the J&J variety, but there’s no way to know.

With John Gilmore in not only a suit and tie, but button-down collared shirt too! I’d seen this 30+ minute video of Blakey numerous times (below) — also with Gilmore (Lee, Hick’s, and Spoles) on the BBC in ‘65 — but I had no idea there was another hour of that band on video/film in Paris that same year (above).

Also, Rouse’s playing on the title track (side 2, first cut) is like primordial Steve Coleman to my ears, and tasty as hell! A bit of that same vibe comes through about halfway thru the last cut on side two too (in the fast shuffle(?) section, when the tune finally gets going, after an admittedly boring opening section that goes on much too long). All that faster section’s great (and ALL of the title track), especially Rouse’s skittering playing — which, frankly based on what I’ve heard of him with Monk — was a TOTAL revelation. Hell, I still can’t believe Charlie Rouse(?!) can play like he does on the title track, à la Steve Coleman. The opener (Bitchin’) of side 1 ain’t too shabby (overall) — and I especially like the super-tart timbre of the guitar (tart as persimmon!) — and the sound out of that (electric?) cello could cut glass!! It’s not a fantastic ‘cohesive’ album — but a lot of it really hits me well, and always has (for 20+ years).

Joe Chambers’ “Hopscotch” (side 1, track 2) is a total blast, imho. Even if it is a bit of a “Freedom Jazz Dance” knockoff — but the execution is fantastic! It always makes me want to get up and dance actually, maybe even more than any version of “Freedom Jazz Dance”, come to think of it. Here’s a nice guitar+drums cover of it to, which also floats my boat similarly. One more, for the heck of it, also excellent. What the hell, one more (same flute guy, but this time with piano)...

A sure sign of the coming of The End Times, if you ask me — lard help us all.

There are many things I like — even love — about Reddit. But the software does NOT effectively allow for lengthy conversations over time. EVERYTHING on Reddit is really ephemeral. It all exists and is searchable for years to come — but it’s impossible to have much discourse (on a particular topic) that lasts any longer than about 12 hours — so conversations there are like planting seeds, seeing them sprout, only to never be seen again (or never have any more input again) barely 24 hours later. What i dearly love about forum-type boards (such as this one, the old BNBB, AAJ, the Hoffman forums, etc) — is that you can have long and winding conversations on a particular topic literally FOR YEARS. Whatever its other positives are, Reddit ain’t like that (in terms of discussions over time). Basically the ‘problem’ is that replying to a thread doesn’t make a given thread any more ‘active’ than it was before you (or anyone else) last replied to it. Here, any reply to any topic bumps it up in the list of recent replies. On Reddit, where there’s (usually) WAY more users, thread activity does lengthen the time a thread is more prominently visible — but eventually (always within 24 hours, or maybe 48 hours on much LESS trafficked subreddits) a given topic will just slowly slide down in prominence. If you find a great topic from a week ago, the ONLY person who really has any idea that you’ve contributed (more) to the conversation, is the one and only person to who you’ve replied to (whose prior post you ‘hang’ your reply off of). Its great for a lot of things, but not everything.

I understand it’s easy to programmatically download data from the site. For instance, there are literally dozens of homemade (3rd-party) apps as alternate front-ends to access the site. Likewise, there’s a lot of homemade add-ons available as well (to the standard desktop interface). It’s (apparently) trivially easy to select all the words of every r/jazz post ever made, and then one can study that dataset, to see how it compares to other subreddits. The’s a nifty subreddit devoted to all sorts of elegant graphs and other wild ways to display data (often in animated ways — called r/dataisbeautiful— and there are often comparisons of subreddits, or demonstrations of how one particular subreddit has changed over time, etc.

FWIW, the main jazz subreddit seems to skew quite a bit younger. What’s the median age here, 55? It’s maybe 25-27, or definitely ages 21-30 BY FAR on r/jazz Here’s a recent poll there from just this year, like a month ago... https://www.reddit.com/r/Jazz/comments/lcrfbg/how_old_are_the_wonderful_jazz_fans_of_this Shoot, the actual poll results aren’t visible unless you’re logged in. I’ll type them out here then. (total votes) — age range (47) — 14 and younger (849) — ages 15-20 (1,563) — ages 21-30 (549) — ages 31-40 (191) — ages 41-50 (170) — ages 50 and older

My favorite ‘modern’ flute player would have to be Gary Thomas — though I don’t think I’ve ever heard more than 2 tunes with flute on any of his albums or sideman appearances (98% of the rest of the time he plays tenor, and very occasionally soprano). Gary has the distinction of being the only flute/reeds doubler I’ve ever heard, where I can specifically hear a lot of similarities in both his flute and tenor playing (specifically in his rhythmic approach, and dark tone). Fun fact: when I complimented his flute playing the very first time I heard Gary live — backstage after seeing him in Herbie Hancock’s band, circa 2006 — he said he actually started(!) as a flute player, and only moved late to tenor. I’d buy an all-flute Gary Thomas date in a heartbeat. Here’s a random example from YouTube (not a lot of his albums are there, so I’m not even gonna try and look for specific cuts - this is just the first one I found). Found a couple more good examples of Gary on flute...

Wish I could find the video on YouTube (I know I've seen it years ago), but there's a fun 10 minute clip of David Bowie and his live band from about 1995 iirc -- and they're on tour, and stop at some truck-stop god knows where (Bowie in a trucker hat, making him a little more incognito)... Anyway, they find one or maybe even BOTH of Bowie's Tin Machine albums in the cassette spindles near the cash register, for about $3 each -- and Bowie threatening to complain to the guy at the register that it's overpriced, or some such nonsense.

Am I crazy for noticing that Sal’s almost(?) non-swinging, regularly articulated eighth notes here (more visible to me in this transcription), remind me of Gary Thomas’ frequent use of fast, regular (non-swinging) fast articulation?? Their basic sound (timbre) isn’t as similar as say Thomas and Billy Harper (Harper being one of Thomas’ single biggest influences, I only just learned a couple years ago). Also (related), I very distinctly remember the very first time I ever took any note of Sal’s playing (maybe the very first time I ever heard Sal, for all I know) when I heard a fast tune from the Bee Hive Mosaic just a few years ago, from Curtis Fuller’s Fire and Filigree. My wife and I were on a weeklong road-trip with my then 91-year old Dad -- and I'd just got the Bee Hive box a day or two before we left, so I brought the whole thing to listen to in the car that week. Heard just ONE up-tempo solo by Sal (from that Curtis) album, and I immediately had my wife dig out the liners to tell me who the hell THAT was (while I was driving). I'd never really even heard OF Sal before, far as I know (other than probably having seen his name on this board, never having any idea who he was). Anyway, is what I’m hearing as a semi-similarly (at least here) with Gary Thomas’ core rythmic approach way off base?? I'll have to find that Fuller track with Sal, and post it here too -- I think the articulation might have been that sort of same "fast, non-swinging" sort of thing, very punchy -- the kind of thing that makes my hair stand up on end (in the very best kind of way).

The top half, for sure. But in the right hands, I rather like the bottom half (meaning everything below where you have to use the register key). I could do without the top half — and then there’s like a whole NOTHER half (the altissimo register, which truly is above what I call the top half) — which I find excruciatingly difficult to listen to. The bottom of the bass clarinet is usually divine, and even the rarely played alto clarinet’s lower register is very nice (taking about the standard alto, not the contra-alto).