Rooster_Ties

Not counting any of the deaths of people who had Covid and some other underlying condition is a way of “keeping the numbers down”. It’s also a way to blame the people (the dead) for having died not because of Covid, but because of those other underlying conditions. The “real” overt impact of the epidemic are Excess Mortality Rates. And the great majority of those who died well above established statistical norms over the last 5 or even 10 years - are most typically a direct result of Covid, though yes - often in combination with other underlying factors. Some smaller percentage of those numbers may be heart attacks or strokes where patients didn’t seek/get help in time, or may have been denied needed help because hospitals were full, lack of ICU facilities (for non-Covid conditions). But from everything I’m hearing/reading, the great majority of deaths will have been Covid related (directly). Excess Mortality Rates are pretty undeniable, in terms of the overall impact of Covid - even if in any one individual case it may not be possible to determine one or more (multiple) causes of death (if Covid testing isn’t done, and there’s no autopsy). Just because you can’t suss out specific causes in individual cases, that doesn’t mean that a huge spike in “excess death” is somehow magically unrelated to Covid. For instance, when there’s a massive heat wave, and (literally) hundreds of people die - and it’s PRIMARILY people with other underlying conditions, that doesn’t mean that those underlying conditions were solely to blame (and not the heat). Another term for Excess Mortality is “Mortality Displacement” - see link below, which cites pandemics (and epidemics) as a common cause. None of this should be controversial, unless of course you have an administration that “wants to keep the numbers down”. https://en.m.wikipedia.org/wiki/Mortality_displacement

Both these albums seemed like distant (ok, maybe very distant) cousins of parts of Escalator Over the Hill. The Water CD issues were the first I’d heard of either album, save for maybe one track on weird compilation a few years earlier maybe.

Occasionally I’ll search for “Mosaic” specify under jazz, and sort by lowest opening bid, and it’s amazing what occasionally shows up. Usually not “buy it now” so you have to just keep an eye out for how an auction is progressing, and/or set up an automatic auction snipe, and then forget about it.

A handful on discogs, though shipping costs may make the price a little less palatable. https://www.discogs.com/sell/release/3694194?ev=rb

I also understand a copy of the (in)famous unreleased Tyrone Washington BN session was spirited out by Belden as well - something I kept under my hat for years (while Bob was still with us), lest I get him in any trouble. The person I got it from had gotten it directly from Bob, and I still think the session is really fantastic.

Some. She doesn’t care for saxophone at all, but she likes a few of my favorite trumpeters as far as it goes: Charles Tolliver and the whole Music Inc thing is pretty cool with her. Woody Shaw too, mostly. She does quite like a lot of piano jazz, Brad Mehldau, and she especially likes a few particular of the more “bang-y” piano players who are a bit out, but not too out. For instance, she really likes the Legendary Hasaan trio album with Max Roach, and the recent Hasaan tribute album. And just this afternoon I was playing Mal Waldon’s “Free At Last” - and she asked me “who’s that?” when one of the more upbeat tunes came up, and she was asking me about who he was, when he was from, etc. - a good sign of interest. Dave Brubeck is usually good too, and Paul Desmond’s tone doesn’t bother her (much). She’s also responded positively to Helen Sung, Stanley Cowell, Mulgew Miller, and John Hicks. And I’ve dragged her to dozens of concerts over the years, some she’s liked better (Bobby Hutcherson) than others (Jackie McLean).

No mention of the italicized ampersand. (But a great and detailed review otherwise. )

Maybe set up an automatic (automated daily) search on eBay, and see what turns up over a few months time. I found an obscure CD once that way, that seemed to normally go for around $30-$50 — but the band name was unique enough I just made the search that alone (and I skipped the album name - helped they only had one album ever). Sure enough about a month later a 3-CD ‘lot’ auction came up, with a minimum bid of $5, and I was the only bidder. Told the seller to keep the other two CD’s, and I got the whole thing with shipping for ~$8.

??? Like, is there something new in the news, re: Ron Brooks? (I lived in KC from 1994-2011, and spent many a day, and many a dime at Record Exchange). BTW, here’s a parallel RIP thread from back in the day, on the Steve Hoffman forum... https://forums.stevehoffman.tv/threads/music-exchange-in-kansas-city-mo.36648/

Ok, but what about that needlessly italicized ampersand?!

In case this tweet/video gets deleted, I’ll quote it and two more tweets further describing it, in full. None of what follows next are my words; all just my cut-n-paste from twitter: > These streamers are at Disney World, visited first aid last night for cough, shortness of breath, and severe vomiting, and were back in Magic Kingdom today complaining of sore throats. (click link for video) https://twitter.com/JennyENicholson/status/1282106395307806720 > She is attributing her symptoms to a tree nut allergic reaction but she took benadryl, saw no change after several hours, and never used her epi pen. The first aid nurses advised that she go to a hospital and she didn't. They've announced they're visiting Animal Kingdom tomorrow. > I'm not saying the channel name and I'm not inviting anyone to go harass these ladies if they find it; I'm sure they're nice ladies who think they're invincible and everything's good. But this is why theme parks shouldn't be open in a pandemic.

I was tickled pink that the Blue Note comp in the spiritual jazz series, included this obscure track. • Solomon Ilori - “Igbesi Aiye (Song of Praise to God)” This is one of the 3 bonus tracks from the 2nd Solomon Ilori session that remained unreleased until 2006 (when the Conn of the Ilori came out). I’ve said it before (started a whole thread about it once), but I absolutely love that second Ilori session, and love that the Spiritual Jazz series brought some attention to it).

I finally got it from amazon.uk, and it ran be about $23 (with shipping), but it’s a damn fine set, so no regrets (even at that price).

I’m sure I’ll get this, even though I have half the music already. I already own vols 1-10 (including the Blue Note vol, #10 iirc). Still need to pick up vol 11 (Steeplechase). Wish they’d stuck with more obscure stuff, rather than label-centric releases - but it’s such a wonderful series, I’ve been buying them all over the years - even vol 7, which was the toughest to track down (had to get it from the UK). I also owned almost every track from the 2CD “Blue Note” volume, but figured I ought to be supportive of what they’re doing with the series (or at least everything from vol 1-8, before the “label” releases started).

Maybe set up an auto-search on eBay (that sends you an email whenever a new one is listed), and you can even set a maximum price threshold, but the title you’re looking for isn’t gonna get scads of hits, so I’d leave the max-price limit off - just so you know the search is working. A more reasonably priced one might come up in 6 months, or 6 weeks, or who knows. Easily done, and doesn’t cost a penny. Pair that with a free eBay sniping tool, and set a max price for yourself (with any specific eBay hits you get)... and you can set it and ignore it... and see what happens. auctionstealer.com has a free service that allows up to like 4-5 snipes per month (or something like that - used to be 3 per week, but I think they don’t offer quite that many). Good luck!

I’ve never been on Facebook, and my wife only made an account years ago so she could access one piece of info on somebody else’s Facebook page (a business, iirc) - probably 7-8 years ago, and she hasn’t logged into it since. From everything I’ve heard and read about even Facebook’s basic (normal) functionality, it’s the kind of platform I’ve never had any sort of interest in being on. I’m delighted to discuss things in online forums, and on Reddit (all text-based, but it’s harder to have on-going discussions on Reddit, especially given the size of its user base). Although I am mostly in agreement with the general “anti-Facebook” crowd that’s emerged in the last couple years (talking more generally, mind you, having nothing to do with the notion of an alternate ‘emergency’ Organissimo meetup place) - I will say that even when Facebook ‘works’, the basic way it works just isn’t my thing.

How about Tim Hagans? I’ve always said “HAH-guhns”. But I vaguely remember (later) learning it’s actually “HAY-guhns” — but I’ve never been able to break myself of the first way I started saying it probably going on 30 years ago. Or I suppose another option might be with a short ‘a’ like in ‘hat’. In any case, I’m practically positive the stress is on the first syllable. I did hear Tim once, just once, back around 1995 in Lawrence Kansas, in Joe Lovano’s piano-less quartet (with Anthony Cox on bass, and I forget the drummer). No idea what the stage announcements that night were (or I’d know now).

Exactly how I operate too. Occasionally I do have some titles that I could easily file in two places - that live date with Joe Henderson and Terumasa Hino is a good example. I used to file it with Joe’s stuff, but now with Hino’s. Then there’s the question about how can I ever find any of those obscure titles (mostly from the 70’s) by artists whose names I can never even remember half the time (ok, most of the time). 90% of this stuff was bought on the strength of Dusty Groove descriptions (and finding uploads on YouTube to confirm my interest). My solution is... instead of filing those random titles in alphabetically with everything else (where I’ll never find them, or find them quickly), instead I pull all those odd-ball 70’s-ish Dusty Groove titles and put them in their own section on the shelves. And I also file a few select titles by really well known players too - like the 4 or 5 semi-groove/semi-funky Sun Ra titles too (apart from all the other Sun Ra I keep elsewhere). A few Herbie titles, and some 70 soul jazz titles too. The other thing I did that made everything easier to find was when I pulled ALL my Blue Note CD’s (1975 and earlier), and keep all of them in a separate bookshelf altogether - several hundred BN titles, including Mosaics. I also keep a few key artists stuff separate too, just cuz I have so much by them - Woody Shaw, Joe Henderson, and Andrew Hill. Those sections are especially large because I also keep Joe’s and Woody’s sideman appearances with their leader-dates (because that’s why I bought those dates). A few exceptions here and there (like that Joe date with Hino), but it all mostly works for me. And I keep all the Japanese artists in their own section, and German artists (60’s) leader-dates together (and other similar European artists). By far from a perfect system, but I can find a lot more stuff more easily.

I think Hill’s 1975 solo-piano Hommage for EastWind is just divine. Granted, Hill’s solo-piano work hits an entirely different spot in my brain, than almost everything he’s done with his trios and larger size combos, etc. But even Hommage hits me a little bit differently than all his other solo-piano stuff. Like maybe it feels a little more ‘of a piece’ - almost like an extended work, actually. And now that I’m thinking OF it (but admittedly not having heard it in ages), Hommage ‘feels’ a little like some of Charles Ives’ more subdued solo-piano works. Granted, the language is different, but (my memory of) that ‘feeling’ is going to the same place in my brain as I’m typing this. A really special album, and one I got Andrew to autograph for me the one and only time I got to hear Andrew perform up in Iowa City of all places, in 2003. (I was celery smitten with Hommage back then as well.)

Ellis and Branford...

another one with Ron Carter...

If I've ever learned anything in this world, it's that doubling down on anything is just asking for trouble - no matter how right you are. I've doubled-down on a few things here and there over the years (not hardly much in the last 10 years, though). And I'm hesitating to think of any instance at all where doubling-down helped (me) in any way whatsoever -- and in most cases, made things exponentially worse. Nothing earth shattering, but I see all these videos where two opposing people are determined (or at least one of them), that BY GOD one (or both of them) is GONNA BE RIGHT, come hell or high water. And that don't never turn out good for anybody, no matter who "wins"

Rand Paul urges Fauci to provide 'more optimism' on coronavirus "We just need more optimism. There is good news out there, and we’re not getting it," Paul said as Fauci, a key member of the White House coronavirus task force, testified before the Senate Health, Education, Labor and Pensions Committee. In May, Paul told Fauci that he should "have a little bit of humility" because he (Fauci) didn't know what was best for the economy. https://thehill.com/homenews/senate/505302-rand-paul-urges-fauci-to-provide-more-optimism-on-coronavirus

Nifty live video I stumbled on quite by accident just now. I'm not sure I remember hearing a "Dupree's Paradise" specifically with Jean Luc Ponty before, come to think of it - was there ever a version with JLP released before? My memory of my own Zappa collection is fading, I'm afraid (most of it in one of the boxes under the bed - having run out of shelf space here). This is from 1973 (should this YouTube upload ever go belly-up), and clocks in at 16 minutes. EDIT: This is DAMN nice. I've just spun it twice, and I would GLADLY pay for a CD release of something with this track in a heartbeat. Been ages since I've heard it, but I'm liking this 1973 version quite a bit better than the JLP-less version of "Dupree's Paradise" from "You Can't Do This On Stage Vol. 2 - The Helsinki Concert" (1974). That Ponty solo is a corker! More details... August 21, 1973 @ Solliden, Skansen, Stockholm, Sweden The Mothers Of Invention: FZ—guitar, vocals Tom Fowler—bass Bruce Fowler—trombone Jean-Luc Ponty—violin Ian Underwood—woodwinds, synthesizer George Duke—keyboards Ruth Underwood—percussion Ralph Humphrey—drums

Had a hunch your call to/with Trane when he was in the hospital was maybe related to the two recordings of ASCENSION -- and a little searching confirmed it... Thus spaketh Chuck here on this very board, nearly 17 years ago! "While working at the Jazz Record Mart, a customer asked to hear ASCENSION and I put it on the turntable. I noticed it was a different take than the one I knew. I grabbed the record and ran to the Down Beat office to see Don DeMichael. Don was the editor and a good friend. He'd heard nothing of the two takes and said "Lets call John". He placed the call, got the news Coltrane was in the hospital, and placed a call to JC there. We were both on the phone and mentioned the discovery. Coltrane said the change was at his request - he thought the others played better on the "new" take. I said I thought his solo was better on the other one and he said that didn't matter. After talking to Coltrane, DeMichael called Leroi Jones and told him of my discovery. Jones (then a regular DN columnist) asked for an exclusive, and he subsequently produced a story. " Source: