Rooster_Ties

I'll confess, I've never seen a Thornhill CD that didn't have that exact same look about it. Like, I've never known what was a definitive Thornhill CD to pick up, because they all have looked line cheap budget-line "who-knows-what-you're-really-getting" affairs. My interest has always stemmed from the connection to Gil, and I understand there is one(?) Thornhill CD that seems to focus on stuff with Gil's involvement, but it also looked like a very budget (maybe even public-domain) type release too. Anyone's guidance welcome! - and thanks in advance.

Enjoying this now, thanks!! Big Gil Evans fan, I've never really explored Thornhill as much as I've often intended. Thanks again!

I have my uncle's entire subscription run of DB's from April 1965 thru all of 1985 (20 years worth), when he passed about 7 years ago. Chuck, I'd be very interested specifically in any DB issues from before April 1965 (I think that's the cut-off, or at least that's what I posted here in 2012 -- I'm in St. Louis right now packing up my Dad to move into a retirement community in a couple weeks). I've always wanted to expand on my uncle's collection going back to about 1960, but I've never pursued it very far, beyond some random and sporadic eBay searches (leading nowhere). Chuck, I'd really appreciate you considering my interest. I could do a outright purchase (payment to you), or I'd be equally glad to make a very decent donation to Jim for the upkeep of this board. Or whatever you like. Here's a thread my post from back in 2012, with the timeframe of what I already have...

I heard him here in DC about 4-5 years ago in a small theater, and I had a tough time connecting with his music. On paper, it should have been right up my alley, but it just didn't hit me, for whatever reason. I love lots of avant-garde music, but there's lots that leaves me cold too. I tend to like progressive trumpet (better than sax), but I just wasn't feelin' it that night. Might have been him, might have been me, or maybe some of both. Haven't ever bought any of his recordings yet.

Crosby has always, or for a long time at least, seemed like a real ass. Not of the very worst variety, but defijtely chaotic-neutral (at best). Kind of reminds me of Morrissey a bit. A coworker was reading Morrissey's autobiography a couple years ago, and I asked him how it was. He said "ok, I guess, but it's all so misserable and whiny."... ...to which I processed to laugh and laugh quite heartily in his face, my retort being: "well, duh. It's Morrissey!" Similarly, Crosby is exactly who he is, and long as you know that going into it, nobody's gonna get surprised or nothing. I like CSN(Y) well enough, but haven't followed them too closely. In think Four Way Street is all I have on CD, though I've had another title or two in years past. I think I saw them once back in high-school or early in my college years, 6th row (iirc), maybe circa 1987-89. I remember them being quite good. I'd probably pony up to see the Crosby doc, just cuz I love music docs. Not a huge priority, but I be open to paying to see it in a theatre at matinee prices. (FYI, I generally like Morrissey, probably more than David Crosby. But Morrissey is definitely an ass. Saw him live twice in the late 90's, and was blown away, couple of the best non-jazz concerts I'd ever been too. But we saw him again a couple years ago, and he was more annoying, and I don't think we need to go hear Morrissey again for another's 5-10 years.)

It just always seemed comically incongruous that Lauren Bacall, would be claiming in all these (radio ads) that she just had to shop at Tuesday Morning whenever she needed that perfect something or another. Mind you, the chain was housewares that were middling, at best. Similar to Target's mid-century modern furniture and occasional pieces (though, frankly, Target's stuff was/is better than Tuesday Morning, far as I'm remembering). It wasn't the junkiest store of its type ever, but for someone like Lauren Bacall to go on, and on, and on about it (through the wonders of repetitive radio advertising, at least), always seemed entirely incongruous with what I would perceive to be the "Lauren Bacall" brand of style she might more logically have been able to promote stuff. Presumably 'actual' high-style Lauren Bacall, just can't get enough of what was clearly very faux (and very cheaply mass-produced) fake 'high-style' stuff, that didn't look like it would last more than about 5 years, tops. Just a funny memory.

Maybe, but what in the hell was she doing radio advertising for Tuesday Mornings all those years back in the late 90's and early 2000's? My wife and I were hear her talking about how she just HAD to get to Tuesday Mornings whenever she needed a certain something special to give to a special friend, that she just couldn't find anywhere else (or some ad-copy drivel like that). She was always so (over)-emotive and earnest in her devotion to Tuesday Mornings, that we used to laugh that she either had tons of stock in the company, or more likely that her 2nd cousin twice removed must have started the place. Like it really HAD to be because of some weird family-connection that Lauren Bacall -- of all people(?!) -- would be pimpin' the crap stuff Tuesday Mornings sold. Many laughs over hearing those radio ads, for years.

Never even heard of Madura, that i can remember. (But I've forgotten a shit-ton of stuff over the years too.)

Better (more detailed) Wikipedia entry than I was expecting. https://en.m.wikipedia.org/wiki/Quill_(band)

Total dick move.

Is there a list of all the performances/artists somewhere? Would be fun to puruse sometime.

Maybe I'll take my shoes off the next time I listen to KOB at home.

For those curious (as I just was), that appears to be this...

Mrs. Rooster is back home in KC for a week visiting her folks (left just this morning), so time to listen to a whole bunch of things that she could only abide so much of -- this being the first thing on after work tonight. Anyone else have this obscurity? Not too hard to find on CD, but no less obscure probably.

Used copy of Hank in Holland, via The Bastards. $17 ain't a steal, but it's a good $5-6 less than new (especially if you're getting a bunch of other stuff from Dusty). https://www.dustygroove.com/item/875859 FWIW. Still a very nice date, and probably the single best non-BN think by (or even with) Hank, that I've yet ever heard. EDIT: I see The Bastards are normally selling this for only $20 now (I'm just seeing), whereas I'm sure I paid $23 for it (from them) a year ago. So $17 is not as much of a deal as I thought. In any case, there it is, fwiw.

I've said it dozens of time over the last 10-15 years, but specifically Schoenberg's mid-20's opus numbered chamber works specifically with winds, are just divine... This stuff (his Wind Quintet, Op 26 - for instance) literally half-makes me want to dance around the room, and always puts a big smile on my face. (That said, I can't get with most of Schoenberg's string quartets -- or certainly not in the same way at least. But his stuff with winds is just the bee's knees, far as I'm concerned.)

Wow! Michael, where and how in the world did you have the chance to play chess with John Gilmore?! EDIT: Sun Ra played too, it would seem (and Arkestra drummer Tommy Hunter too, a name I must confess I didn't recognize - though maybe 20-25 years ago Hunter's name (and loads more Akrestra members) might have been more in my immediate recall). Tommy Hunter on Sun Ra and John Gilmore John Gilmore Memorial Broadcast, WKCR-FM, New York More if the interview (all non-chess related) here... http://www.jazzhouse.org/library/?read=panken7 Noel Scott (Knoel Scott) too, a bit, it would seem... Remembering June Tyson and John Gilmore John was not a talkative or extroverted person at all. Maintaining a high level of privacy. His closest buddy in the band was Thomas ‘Bugs ’Hunter… the drummer/photographer and recording engineer for Sun Ra who with Pat Patrick and Walter Miller also started playing with Sun Ra as a teenager. John would occasional engage in a card game called ‘tonk’ with Arkestra members. They would wager and the obligation of the winner of the ‘pot’ was required to show up the next day or so with something he bought from his earnings from the game. John was a frequent winner. And a dapper dresser……now we know why….as the code prevented him from banking his earnings from the Tonk games. This activity along with chess was the large extend of his hanging out with the ‘fellas’. John was an excellent Chess player and would often play with Bugs and other high level players who would come through the band for a time. I recall having the nerve to play John one chess game and he beat me in about 3 moves. I never bothered to waste his time at the chess board again. But I would watch him and bugs play. From a nice, much longer piece at the link below. I always have fond memories of my one brief interaction with June Tyson, who seemed like a real class act, and she was super nice to 21-year old me the one time I saw the Arkestra with Ra in Chicago in 1990. Alas she was 7 years gone before I saw the Akrestra again in about 1999 (sans Ra, Gilmore, or June Tyson). https://artyardrecords.co.uk/remembering-june-tyson-by-knoel-scott/

For some reason reading this specifically reminded me that it was a 4-5 nights a week gigging jazz musician (10-15 years my senior) back in Kansas City circa 1995 who, when I mentioned that I was increasingly trying to get into more complicated and modern string quartets, told me to listen to the late Beethoven quartets (but especially the Große Fuge) -- and also Alban Berg's Lyric Suite. I will never forget his exact words (and the look in his eye) as he told me "that Grosse Fuge, and Alban Berg... will. FUCK. YOU. UP!" No specific point, other than to relate a story and cool memory.

Wasn't it Schoenberg (or maybe Stravinsky - who also lived in or near LA around the same time, iirc), who semi-seriously thought he could write some movie soundtrack music, but had intended (or maybe actually fully wrote) some incidental music for a film, never having seen one frame of the movie in question -- ? Is that ringing any bells for anyone else? Not that he (whichever one of them it was) thought they were going to be the next Korngold. But that they quite seriously more than half intended to write a score for 'a film' without ever really writing it to go along with said film, in any traditional sense of how movies have nearly always been scored. I know I read/heard that somewhere -- and not just online -- but like way back in college, in my 300-level "20th Century Classical Music" class (which I took twice, actually, just for the fun of it -- under two different instructors, 3 years apart -- I audited it the second time). Hell, if I'd stuck around that college town long enough to see a 3rd professor come along to that tiny little Music Department (in the liberal arts college I went to), I sure might have audited it again several years later. God knows fully half the syllabus and required listening would have been different with each new prof.

Shame these two rare Japanese performances by and with Henderson are so impossible to get a hold of. To recap (from above): "Black Narcissus" recorded live with the same band (same date) as he album titled: In Japan (aka the album titled: Henderson's Habiliment as released in Japan, from which this tune might(?) have come (still to be confirmed, iirc). and the side-long version of "Dancing Mist" from the Masabumi Kikuchi date above (the one with 4-5 different lengthy versions of the same tune, across 2 LP's no less) -- see my most recent post above this one for details. About 32 minutes of material, just those 2 tunes combined (13:05 + 18:55 = 32:00 exactly, though presumably some of that is applause and such). But easily 30 minutes worth, FWIW.

I did bring in Mark's book yesterday, but they upgraded my work laptop to Windows 10 over the weekend, and I'm I'm still missing some things (the full version of Adobe, for one), so it may be until next week before I can convert a PDF to a JPG and get it uploaded here. Or maybe I can Rube Goldberg the thing, and get a screen-shot of the PDF, past it into Word, and then I'm not sure what next (cuz I need to pull just the image out of a much larger 11x17 inch scan of two whole pages of the book). If not, next week sometime then.

Though I know they're not that similar, I've always felt my my *initial* reactions to Mahler and Bruckner were both pretty similar. Long, sprawling works, heavy on chromaticism. "OMG, where is this going, and why the hell is it taking so long to get there??!!!" For a good 5(?) years Mahler never made any sense to me (I only dabbled a bit listening at home, but did hear 3 Mahler symphonies live over those early years for me, back in my 20's). Then quite suddenly, Mahler almost overnight "made sense" to me when I was in a performance of Mahler 8 (in the chorus). Not that it made any sense as we were rehearsing it over 2 months. But the week it started to really come together (when all the double-choir stuff started getting rehearsed together), and then with the actual orchestra -- and then the one (and only) performance -- VERY SUDDENLY Mahler just "clicked" for me. I think I heard Mahler 5 (live) a few months later, and I was totally smitten. I've even heard Mahler 7(!) performed live 3 different times -- and I was on the edge of my seat the entire time. Same with Mahler 9. Evening-long performances, that felt like barely 45-minutes. I've never had that happen with Bruckner for me, at least not yet. And I have to confess, I've not had the energy to try and force it (through home listening) in 15-20 years (or I guess you could say "not ever", which would also be technically true). I'm not a Mahler fanatic, but I'm half of one, certainly. But oddly, as I said upstream several posts, the only Bruckner I've ever really clicked with are his 10+ motets (or however many there are, and I've sung 6-8 of them over the years). And his one string quintet -- which is just glorious.

I'm hoping the entire thing is accessible via streaming at some point. Not pining for it or anything, and it wouldn't bother me a bit if it weren't ever available that way. But it'd be fun, as a diversion, just to dig into the whole bloody mess and see what's there. Maybe even put the whole 38 discs worth of material on "random" and see what comes up. Or spin (stream) a 'disc' every day until I'd heard the whole thing (probably take me 2-3 months, if I was honest, to get through that much material.

Yeah, I hear you there. I wish there was a better word for all my music. I feel more like a curator of an assemblage of music, and the "collection" is ever changing -- expanding, and periodically contracting too. And the collection -- in my mind, at least -- gets a little better, or more interesting with every addition (and some well-needed pruning too, every few years). I do call it a "collection" (for lack of a better term), and the museum I work for certainly has a significant collection (and that's the term of art), and we are a "collecting institution" So on the personal front, while I might have a collection, I absolutely do NOT consider myself a "music collector". THAT'S the term I hate the most - FAR more than "collection". I've known lots of music "collectors" -- and I really don't get on with them nearly as well. They're worried about this reissue, or that original pressing. And don't get me started with (some) audiophiles, many of whom seem WAY more obsessed with the provenance of how something was recorded and mastered/remastered, and who (often) seem not to give a whit about the music itself. Those people drive me up a wall. I've had more than a few "good acquaintances" who I never really became good friends with (good "musical friends"), because it was nearly impossible to interact with them for very long about things, give that our priorities were so different (if seemed to me), despite our both owning 2,000-3,000 (or more) CD's. (Don't mean to offend anyone here if you fall into any of these categories. Please accept my pre-apologies.)

Yeah, to be honest, Bitches Brew is something I just take in as a whole most of the time. That entire "Complete Bitches Brew" box, really, is ALL material that I just let wash over me, to a degree that's definitely different than most other Miles albums (or boxes). I've said it before, but Bitches Brew and that entire box is music I only listen to when I'm doing something else, usually something physical -- like cleaning the apartment, or lots of filing, or something where I've got a bunch of mindless work to get done over a whole day. And it's been like that for me for YEARS. None of the other Miles boxes are like that for me, but Bitches Brew is all just material I let wash over me while I gotta get other shit done. Doesn't work for exercising at the gym (at least not for me), or that kind of work -- but anything where I have to be productive, but not focus too closely on what I'm doing. As a result, I don't know that I could ID more than half the tunes by name any more (and I couldn't tell you which half of the tunes I'd get right either), other than "Sanctuary".