Rooster_Ties

True. But they were a significant influence on the related “glam metal” genre. https://en.m.wikipedia.org/wiki/Glam_metal Van Halen has been seen as highly influential on the movement, emerging in 1978 from the Los Angeles music scene on Sunset Strip, with a sound based around the lead guitar skills of Eddie Van Halen. He popularized a playing technique of two-handed hammer-ons and pull-offs called tapping, showcased on the song "Eruption" from the album Van Halen.[4] This sound, and lead singer David Lee Roth's stage antics, would be highly influential on glam metal, although Van Halen would never fully adopt a glam aesthetic.[18]

From a parallel universe...

If I might ask, where/how did you find a copy of Reminiscent Suite?? I've been trying to find a copy for eons, and I've never seen one go for anything less than ~$80, iirc. -- and more often than not, more than $100. If there was ONE Mal date I'd like to have on CD, it'd be that one!! -- Mal & Terumasa!!

When I did my BFT here (eons ago), it was nearly all originals. I mostly highlighted artists and songs I loved, and the whole idea was to both introduce (some) people to some artists and/or tracks they’d never heard (more obscure stuff). And to try and stump the experts, in terms of ID-ing particular artists/leaders. The only standard I used was by Bill Evans, but it was from an entire disc of Bill Evans solo arrangements, performed by a classical pianist. The idea, was to see how people took to something like that, and if anyone though they performance was particularly ‘square’, or especially ‘lush’ to the point of somehow being odd or weird. I had not idea if anyone would take it that way, but I thought it was a different way to include something jazz-oriented that maybe some people might not consider legit. Otherwise, it was all originals.

Wasn’t a fan of the rubato stuff like “Eruption” — primarily because a LOT of a-tempto (rubato) stuff just doesn’t do it for me. But other than the possibility of too much of that, I would have loved to have heard more all-instrumental “band” type material with Eddie. Like if he’d done some Joe Satriani type stuff. I’m not enough of fan to have ever owned any Van Halen (or Satriani), but I’ve been around enough people (primarily in college) who liked that stuff, that I’ve heard a bit. And even now, I’m often game for some Satriani-type stuff when I’m on the treadmill in the gym. I never cared for Diamond Dave, but the Van Hagar version of the band was ok (meaning better). If I stumble on any Van Hagar on the radio, I usually won’t switch channels. Not high praise, I realize, but it’s just a commercial type of music that doesn’t draw me in repeatedly. That said, Eddie was clearly a monster player, but also not just a busy shredder either. He was ‘musical’ about it, and could make a guitar sing. I’m more into Gilmour, or Paul Kossoff (Free) — and Hendrix especially (Jimi was my very first musical love, in high school in the mid-80’s). And lately, Allan Holdsworth. But Eddie was about the best in his genre, not only technically, but musically too.

Set up a few different automated eBay searches, one on “woody shaw beginning”, one on “woody shaw “cassandranite”, and another one on “woody shaw last line” - and be patient. Then use an auto-bid ‘snipe’ service like auctionstealer.com (which gives 3 free bids per month, iirc)... ... And inside of 6 months, you’ll have one for less than $25 I’m betting, maybe even closer to $20. Dusty Groove also has a similar auto-search function too.

Also released individually as In The Beginning (aka Cassandranite). https://www.discogs.com/master/view/795216 The season is also on disc one of this 32Jazz reissue (paired with Love Dance on disc two) https://www.discogs.com/Woody-Shaw-Last-of-the-Line-Cassandranite-Love-Dance/release/8379955 NOTE: Most of these also include a 6th track (“Medina”) which isn’t from the 1965 session. “Medina” is from a 1971 Joe Chambers leader-date (Almoravid), that includes Woody — but that track is entirely unrelated to the 1965 session (which is only 5 tracks long), FYI.

Maybe a year ago(?) Comcast moved TCM up to some mega-sports package that’s an additional $15 or $20 per month more (and we’ve already got a fairly expansive package as it is) — and now we don’t get it any more. Annoying as shit. We didn’t watch tons of movies on TCM, but maybe 20-25 per year (so a fair amount). I’m also famous for DVR-ing lots of things just to sample them, but often watching things in their entirety, that I’d only intended to see a bit of, just for a few minutes of some particular actor/tress years before (or after) their best known years, or in some obscure role. But not any more, and I’m NOT ponying up $180 more per year just to see channel I’ve always had access too for almost 20 years prior, without paying through the nose for it.

...OR did I just imagine(?) that there was a “saw-full” reissue on CD? - which would have surely been out of Japan? Now I’m totally second-guessing myself about the existence of such an animal. (I never had one, so I have no first-person sightings.)

Iirc, there’s one (just one) fairly recent Japanese CD reissue that has the saw solo. Might be the most recent one, not sure, but within the last 5-6 years at most.

2020, the ultimate roller coaster.

https://nypost.com/2020/09/30/woman-forced-to-forfeit-lotto-prize-after-usps-loses-ticket/amp/

Skimming them now (I don’t have Palo Alto yet, having only streamed it so far). Plenty on the subject starting on page three of this pdf: https://www.uk-promotion.de/wp-content/uploads/2020/06/Robin-Kelly-Monk-Palo-Alto-Liner-Notes-Final.pdf

If the audience was mixed-race, certainly that would have been self evident to the band. And regardless of the band’s (presumed) lack of specific knowledge of race issues in Palo Alto / East Palo Alto — Oct 1968 was barely a few months after the assassinations of MLK and RFK in April and June. There had to have been plenty of ‘racial strife’ in the air in 1968, anywhere in the US - especially for a black band touring the country. Brubeck playing for a mostly white audience in 1968 wouldn’t have had any such added context. But an all black band playing in a white community / white high school (surely evident), but for a mixed race audience... would have entirely been something else. I don’t think it’s a leap of logic to suggest that as a possible and even likely motivation for the band. It’s a logical inference drawn by the reviewer, but not a stretch.

After 18 days of radio silence (in terms of any new tracking info), the CD that I got via eBay suddenly appeared in last night’s mail, about 3 weeks after it shipped. Was never overly worried about it, but it definitely took its sweet time getting here (from California, to DC). A similar eBay purchase about a month ago from Hawaii (of all places) only took about 5-6 days, iirc. Maybe the fires out in California had some impact, I really don’t know.

Not saying my wife was in any way a “fan” of the Schoof. Just that I’ve played the album twice with her in the room, and I haven’t — at least not as yet — gotten the stink-eye from her at either listening to date. That said, I was well aware that I was probably pushing my luck a bit both times. If there had been any saxophone on the album, though, it would have been an instant ‘game-over’. She has zero tolerance of ‘out’-leaning saxophone, or almost any standard (non-bass) clarinet. But I think some trumpet reads as almost ‘percussive’ to her (which is at least somewhat better / less bad).

Listening to this new semi-primordial version of “Take Five” - I’m pretty shocked this has never seen the light of day after all these decades. I’m not uber-enamored with this new take (though it is very interesting, historically). But I am shocked that one of the 5 best-known tunes in all of ‘modern’ jazz has an early take like this, and it’s never been issued or even leaked? I’ve never even owned a copy of Time Out in all these years (though I do have 4-5 other Brubeck CD’s) - none of which are comps (so I’ve never owned a copy of “Take Five” either). I’m not suggesting Time Out is quite like Kind of Blue - but from a popular/cultural perspective, the tune “Take Five” is probably better known by the general public than “Blue Train”, or maybe even “So What” and “All Blues”. My wife knew “Take Five” when we met almost 25 years ago, and I’m pretty sure she hadn’t ever heard Kind of Blue. “Take Five” is probably right up there with “Linus and Lucy” (what most people would call the Charlie Brown theme) — in terms of cultural penetration. And how an early alternative of that kind of tune stayed in the can all these years, is what I would call a mystery.

And the YouTube description: Time OutTakes will be available on December 4, 2020 in time to celebrate Dave’s 100th Birthday on 12/6/2020. It will contain never before heard takes from the original 1959 session. (CD and LP pre-order links) "Take Five" From the album Time OutTakes (Previously Unreleased Takes from the Original 1959 Sessions) The Dave Brubeck Quartet Dave Brubeck, piano Paul Desmond, alto sax Joe Morello, drums Eugene Wright, bass "Take Five" written in 5/4, was a time signature so new to jazz that The Dave Brubeck Quartet abandoned it on the first of three recording sessions. It's fascinating to hear on this track that the iconic drum beat wasn't set yet and Joe Morello was playing a very syncopated Latin beat. Even alto saxophonist, Paul Desmond, had not yet settled on a consistent melody. Brubeck was playing the famous piano vamp in order to hold the piece together along with the glue provided by Gene Wright on bass. It was supposed to simply be a tune that would feature the drums. This version from "Time OutTakes" explodes with one hell of a drum solo, longer than the original hit single, proving why Joe was considered one of the very best drummers in jazz.

Seriously, how was this material *not* included when they did that expanded “Legacy” 2CD version?? https://www.discogs.com/The-Dave-Brubeck-Quartet-Time-Out-Featuring-Take-Five-Blue-Rondo-La-Turk-Legacy-Edition/release/14522419

> Manfred Schoof Quintet – Light Lines (JAPO, 1978) That Manfred Schoof date is really fantastic, and I also think it is the best of his 70’s output as a leader. I found a copy on vinyl ~3 years ago remarkably cheap ($10, first JAPO LP I’d ever seen out in the wild), and a year later I broke down and got that 2CD reissue of all three of Schoof’s JAPO dates - called Resonance (on ECM). The music is quite free at times, but presented in that sort of ECM sheen, production-wise. JAPO was distributed by ECM back in the day, and the overall aesthetic of the labels was somewhat similar, I gather. It’s probably the ‘freest’ date I know of specifically with horns that won’t scare my wife out of the room.

Yeah, I think If push came to shove, we’d probably be OK eating outside (sidewalk cafe style), but we just haven’t had any even remotely good reason to. We used to eat out a lot, too much probably. Now it just seems like a luxury we feel weird doing, given all the folks struggling, (to us), we would feel tone-deaf eating out. I’m NOT saying we think that when we see others eating out. Part of it (for us) is also that restaurants here have such limited seating outside, that we just don’t feel the need to use up that limited commodity (space). We’re perfectly fine getting takeout, leaving more openings for others to eat out if they want. (But we still tip as though we’ve eaten out.)

No joke. https://www.boston.com/news/health/2020/09/23/black-licorice-death/amp

Any reports about the liners on the new Hank box would be great, especially anything even remotely revelatory (or small details not previously known). (I couldn’t justify buying the box myself, since I already had all the music on CD - every last track iirc.)