Rooster_Ties

I've enjoyed this1977 leader-date I'd posted about in the thread/link right above), with Carter Jefferson on tenor (which is actually how I discovered it on YouTube, searching on Carter Jefferson, iirc). I'd eventually like to find a copy on vinyl, though it's not a huge priority. I've only heard it on YouTube, this far.

No idea about the lumber in the house. Far as I know, it's not a frame-construction house, and I think(?) the brick walls are load-bearing. By way of contrast, our "brick" house that my wife and I owned back in Kansas City -- it wasn't covered in brick veneer - but the full-thickness brick was structurally considered facade. But I think(?) my dad's brick isn't(?) facade, but load-bearing. Of course, there are are joists and beams inside the walls. But other than one small (narrow, but floor-to-ceiling) built-in bookcase near the front door -- there's actually no exposed woodwork in the entire house (except a bit in the attic, of course, and a couple really thick posts in the basement, load-bearing too, far as I know). My great-grandfather was an architect (not of any renown or anything), and he actually designed the house (the father of my grandmother, who did the needlepoint). And we STILL have the blue-prints, which are in excellent condition, and I plan to get framed one of these days -- as family keepsake, and as a memory of the layout of the house. PLUS, I absolutely LOVE blueprints, just generally speaking (remember the architectural museum I work for here in DC? - since 2012). So the fact that I have the plans for the house, and also manifest(s) of the goods and materials that went into it's construction, etc. - while not earth-shattering, is still kinda nifty. My love of architecture kinda came a little through my Dad's love of BIG civil engineering projects (dams, bridges, etc...) -- but really more so, it came from my aunt (my Dad's sister), and my uncle (her husband), who were both art history professors, and they both had a deep love of architecture, Louis Sullivan, FLW, Eero Saarinen, Mies van der Rohe, and the like. I used to listen to my uncle talk about architecture a few times a year, just extemporaneously when we would visit (same uncle I got my complete Downbeat collection from, starting in April 1965 all the way up to the mid-1980's -- every issue). Anyway, enough rambling this late, I'm due to walk out the door here for the airport in 8 hours -- so I gotta hit the hay. PS: Come to think of it, though, those building manifests would have the type(s) of lumber all specified (I'm sure I've seen that), so what kind of materials went to it is not only a knowable fact -- it's something I'm sure I have ready access too. Those manifests are still with my Dad at his house (I only have the blueprints here in DC with me, at the moment). I'll have to look this week, if I get the chance -- or when I'm back in early October.

Nice review! Mostly agree with all of it, but count me in the camp with a handful of quibbles about giving short-shrift to a few periods/albums. I felt like 30 more minutes (on the right stuff), would have made an already great documentary truly outstanding. I guess "truly outstanding" probably is an unachievable goal, but there were some things that really didn't get but a mention, or a minute or two. I did think the sequence covering his 'debut' at Newport in, what was it, '55? -- that was told essentially through a very "animated" sequence of still photos -- was certainly a part of the story I knew, but didn't know the import of. Still, the second great quintet only got a minute or two, pretty much all focused on Footprints (iirc) -- a great tune, sure, but (iirc) that was the only thing covered between his early 60's triumphs, and Bitches Brew. The early 70's coverage was not half-bad, iirc (wasn't there a nice On The Corner sequence?) -- but overall, I just felt like a little too many things were left. out. And yet, there was time for 2+ minutes of "Some Day My Prince Will Come" -- which I've never thought of as being the most revelatory Miles track ever. But all quibbles. A very solid 8/10 in my book -- and much of it probably closer to 9/10 (in spots).

This cross-stitch/needlepoint is a good 6-feet wide, and 2+1/2 feet tall. My photo really doesn't do it justice -- the colors are just as vibrant as when she did it, I think (it's never had any direct sunlight on it, in all these years). A true piece of folk-art, I guess you could call it.

ANOTHER UPDATE... My wife and I are due on a plane in the morning, helping to finish packing up my father's stuff and then he's moving on Wed (Sept 4) into the retirement community detailed up above in various posts. Then we have 3 days to help get him settled. His house appraised at well less than half of what he was hoping it was worth, and given it's condition (it's been well kept, but there haven't been any substantial updates since the early 1960's -- original "updated" 1960's kitchen remake, complete with the same 1960's oven -- which only half works, etc...). Much longer story, but given the issues with the house, which has never been inspected (since he bought it from his mother back in the early 60's), we have little choice but to sell it at auction (in early October). The auction company seems very on top of things, very professional, and I've gotten nothing but good vibes from them (in terms of their competence). The auction company is cleaning out the entire house, and auctioning everything Dad's not taking with him -- and thank goodness, because it would take my wife and I at least 3 months to do all that (working over weekends, and some evenings) -- but of course we live 1,000 miles away. We expect the proceeds of the auction (of the contents) to cover their cleanout services, and we may net $1,000 from that (at best). But I've heard nothing but the highest recommendations about them, including (unsolicited), by the appraiser we hired to get a better sense of what the house is worth. I won't detail everything, but the house is all still knob-and-tube wiring, and there are 5 different electrical boxes (half fuses, half breakers), surely none of which would pass a modern code inspection (though the electrician my father had to have sign off on the whole thing -- my Dad did all the actual work himself back in the 70's and 80's -- that electrician said my Dad did excellent work). But none of that is up to modern codes, to say nothing of the knob-and-tube. The house has solid bones, and is in great structural shape. But it's an OLD house, in very "average" (at best, and that's being charitable) condition. And it doesn't help that it's located in only a "fair", very working-class part of town, and less than 2 miles from what is very perceivably "the wrong side of the tracks" (not that *I* think about it that way, but the reality is that buyers sure will). My dad's mostly come to terms with it all, and he's taking it all more in stride than I would have expected. ("What else can you do?" - is one of his 'favorite' sayings - or at least something he says frequently). So his, and my boyhood home will be no-longer his (ours) soon. He'll be out of the space about 95% by this time next week, and then the auction is October 5th (which I'm flying home for too, not that I really have to, but I feel like I should be there). Just today -- really only in the last 2 hours actually -- I'm feeling like a ton of bricks on my shoulders. Maybe the gravity of all this is just settling in. I've been close to tears, back here in my office at work, at least 3-4 times. Haven't actually broken down or anything, but it's all in there. All in all, we're all -- my Dad included -- all pretty (reasonably) upbeat about the impending move. And to say it'll be a HUGE relief that he's somewhere that people can check on him if he has issues, and where he gets three squares a day without having to lift a finger. And where he doesn't have any stairs, or he doesn't have to go outside at all (in the winter, or in bad weather), if he doesn't want to. All that will be a HUGE relief, and that's just days away. I would never want to own or live in that house again, but I guess I've got more of myself tied up in it than I really realized. Remind me sometime, and I'll share some photos. My Dad also has this HUGE cross-stitch that my grandmother (his mother) did of the house, back during WWII -- it's about 6 feet wide, and 2.5 feet high. Shows the house, and the whole yard. She sketched it all first, and then designed the cross-stitch around it herself, and it's just an incredible piece of art, really. I wonder if I can upload it here now, maybe I'll give it a try real quick. Anyway, wish me well. All positive news mostly, and a good transition, and not really a "tough" time, per se. But I'm feeling way more emotional than I ever expected, on the eve of all this.

Bump! -- check out this enormous new mural here in DC!

"Dialogo" can also be found here, on this very recent odd/interesting double-LP of much of that same material... https://soundsoftheuniverse.com/product/i-dont-care-who-knows-it Also even more info about it here... http://www.wallenbink.com/

Fantastic new (and huge!) Buck Hill mural just went up in my neighborhood here in DC (OK, the adjacent neighborhood just south of me). Nice story from the local NPR affiliate: https://wamu.org/story/19/08/27/d-c-s-newest-and-tallest-mural-honors-a-local-jazz-legend-who-was-also-a-mailman/ For comparison, check out this image of Hill in uniform from back in the day (a pic that accompanied an obit of Hill)... https://www.washingtoncitypaper.com/arts/music/blog/20855826/buck-hill-obituary The finished product is frickin' huge!! https://www.capitalbop.com/buck-hill-dc-mural/

I must hereby confess that although intellectually I've always known that the way the name of this tune must surely be actually pronounced is far different -- and here's the confession part -- I have always *mentally* 'heard' the name of this song pronounced as "corea" (which sounds like the country "Korea"). Yeah, I *know* that isn't right (and I've always known it), but -- damn it -- that's the way my brain first filed it in the 'great' (really more like 'sorry-ass') filing cabinet in my head. I've never once tried to say the name of this tune out loud to anyone (nor have I ever heard anyone ever say it out loud, save for once a few months ago) -- so how it 'sounds' to me is purely my own mental construction. But that's how it got filed up in my noggin 30 years ago, and it just got stuck that way. Probably a hundred other examples like that I could give -- mostly classical composer names, a few jazz musician names, some place-names too -- stuff I know isn't right, but that's just how I've "thought" about it in my mind's ear (which is stronger than my mind's eye, when it comes to language things -- although oddly, I often have trouble remembering names until I've SEEN them in print). And a few words even. I've never been able to spell holler as anything other than "hollar" without some real conscious effort. I've always spelled it "hollar" - and even though I know that's wrong, that's just how I spell it, cuz that's how it got stuck in my brain from the git-go. Random non sequitur de jour.

Nice video...

How have I never even heard OF a "pedal piano" before this very instant? I'm at least half gobsmacked.

Used copy for $4 at Dusty, I just noticed... https://www.dustygroove.com/item/571226

I always prefer CD, unless the cost is really painfully prohibitive (especially if I'm staring at an LP that's half the price). Over 90% of my collection is on CD, and that's my medium of choice. I certainly will buy on vinyl if there are no other choices (or not other good choices). Vinyl is a pain in the ass to listen to, and half the time I have 20-30 CD's stacked on top of the cover to my turntable -- so it's not like I can pop an LP on without unearthing the player. I don't hate vinyl, but it has a lot of limitations and negatives in my mind.

Agree on all points, including that I also vaguely half-remember/imagined that Sizzle (1976) was coming out on CD not all that long ago. But looking through Sam's output on Discogs, I'm betting you're remembering (or I'm pretty sure *I'm* remembering) that Contrasts (1979) actually did and only came out on CD for the very first time in 2014 (out of Germany, or so says Discogs). I'll bet THAT'S what we're remembering. https://www.discogs.com/Sam-Rivers-Contrasts/release/5327732 Maybe that's it.

Saw this on the /r/jazz subreddit this week, and thought some others here might enjoy. This YouTube upload is the entire album... https://www.discogs.com/Otomo-Yoshihides-New-Jazz-Orchestra-Out-To-Lunch/release/1253019 01 Hat And Beard - 00:00 02 Something Sweet, Something Tender - 06:11 03 Gazzelloni - 15:31 04 Out To Lunch - 19:50 05 Straight Up And Down/Will Be Back - 29:31 Personnel: Otomo Yoshihide (guitar, arranger, producer, conductor, mixing) Axel Dörner (trumpet, slide trumpet) Aoki Taisei (trombone, bamboo flute) Tsugami Kenta (alto saxophone, soprano saxophone) Alfred Harth (tenor saxophone, bass clarinet, trumpet) Mats Gustafsson (baritone saxophone) Takara Kumiko (vibraphone) Cor Fuhler (piano, inside piano) Mizutani Hiroaki (bass, arranger) Yoshigaki Yasuhiro (drums, percussion, trumpet) Okura Masahiko (alto saxophone, tubes) Ko Ishikawa (sho) Unami Taki (computer) ONJO (composer) Eto Naoko (arranger) Numata Jun (producer) Sachiko M (sampler, contact microphone) Kondo Yoshiaki (recording engineer, mixing) Nakamura Toshimaru (no-input mixing board, mastering) Dig the album cover too, nice homage without being too similar...

Rio!

Has Sizzle really never been on CD yet? I guess not, or I'd already know about it (and have one). Came up in a discussion over on the jazz subreddit, and now I need to pull my vinyl out and give it a listen this weekend (not sure I've spun it in a few years, come to think).

Also...

Good question. Anyone know?

More than most will ever know...

Do we know Rudy recorded this session? I've forgotten whether that was stated as a matter of fact, or an assumption. Probably was Rudy, I realize, but do we know?

I have this recording on CD (YouTube upload of the entire CD) -- the only Alkan I've ever heard. Concerto for solo piano (49:58) -- as performed by Marc-Andre Hamelin (Music & Arts, 1992) It's both a real barn-burner of a work, but this performance (again, the only one I know) does seem to have an air of restraint about it (as I'm listening now - a disc I haven't spun in at least 5 years). There's a lot going on in the work, certainly (maybe too much? - for some, probably yes). FWIW, I do think it's a little less bombastic (or at least this performance) than say perhaps Louis Vierne's "symphonies" for solo pipe organ -- about the only (other) pseudo-symphonic work for solo-instrument that I can think of (as a sort of parallel). Apples and oranges, perhaps -- and maybe organ is just intrinsically way more bombastic. But I do find Hamelin's read here on this lengthy work pretty compelling (that I'm remembering, from the first 10 minutes I've gotten into the work, in 5 years). Or maybe 40 more minutes (into the 50-minute work) I might think differently, but so far, so good.

Walking bass in and of itself is OK, long as it doesn't always walk where I'm expecting it to. Excessively predictable performance techniques, employed religiously, is a definite recipe for my mind to wander. I need to left turns! - or a bunch of unexpected switchbacks. It's not the "walking" itself that's the problem -- it's where it goes (or always goes, more so), that might leave me cold (or colder than otherwise).

Total dick move.