BeBop

After offering up "trombone" as my dislike, I pulled out a couple of discs featuring a couple of my favorite trombone players. Vic Dickenson and JJ Johnson. (No Frank Rosolino handy). I find myself retrenching a bit. The instrument isn't a problem. But put it in the hands of a showboater or a rank amateur and the sonic damage that can be done... Then again, just about any instrument in the wrong hands can be deadly. A tenor in mine, for example...

Trombone. (No accounting for taste, eh?)

organissimo.org is still my only real 'hang'. But, social butterfly/commitment phobic that I am, I signed up for BN Europe and will probably peep from time to time. Forgive me Father, for I am about to sin.

Shazam! I'm part of a plague. I always wanted to be like Locust Boy. P.S. Norah who?

BeBop's the name; bebop's the game. With a side order of hard bop. So what's my favorite Mosaic? Django. Don't think anyone else picked this one, and I'm not sure why. And I'm not sure why it's my favorite. On some level, it's easier to listen to (though not Easy Listening). Six discs of hard bop (with copius alternates) and my ears are bleeding. But Django and company are smooth, swingin', stylish... Some of the vocals are a drag. And the smaller the group, the more I tend to like the music. But it's all good. Check it out.

My advice: Buy two Blues. As soon as they go OOP, sell one on eBay. You'll get enough to pay for the sold set, and a premium to pay the electricity bill and late fees. Problem solved. Look at it this way, if you don't buy the Blue now, next month you won't get another chance. If you don't pay the electric bill, you'll get another chance next month, and a week after that and three days later... P.S. Don't take my advice.

IMO, The Turrentine is very good, the Sonny Clark is great. SACD issues with alternates worth the money! (Heck I paid more for my Time/Bainbridge CDs than they want for the re-issues.)

Frankly, Phoenix was disappointing (to me) as a shopping spot. There are a couple of Towers and a Virgin (in Tempe) that inspired nothing much more than yawns. Sam Goody, Wherehouse, Borders...gadzooks. The well-known Memory Lane in Tempe wasn't much to see, but for vinyl lovers, it may be worth a trip. Zia's Record Exchange has several locations throughout the Valley; these are the best bets, IMHO. Seems like there was also a branch of one of the LA shops - Rockaway? - in Mesa. And did Record Surplus have an outlet in this area or...? So where's that leave us, a one-shop big city? Certainly it can't be as dismal as my memory would have me believe.

Correct on the cockpit announcements. What I'm speaking of is air traffic control. On virtually every United flight I've taken (since 9/11, especially), the jazz channel (usually channel 9 or 13) does not broadcast jazz, but rather broadcasts plane to air traffic control radio transmissions. Continuously. I can handle a brief interruption when the pilot come on to tell me we're leveling off at 3-5-0, or the flight attendants wish to remind me how to buckle my seat belt. But do I need air traffic control communications all the way across the Atlantic? John L, don't tempt the Somalis, or the Ethiopians, or the Sudanese or the Khmer. In all likelihood, the BATTERIES in your CD player are worth more than your neck to them. Leeway: glad to hear you lucked into a flight where the jazz was broadcast. It does happen from time to time. I'll cross my fingers next time I board a United flight.

A fine idea, but difficult in execution. Because I travel constantly (without checked luggage), I really can't bring along a CD and headphones and batteries and CDs. Moreover, once hitting the tarmac in (for example) Somalia, these things tend to disappear...often before even clearing immigration and customs. (I know United doesn't fly to Somalia.) Moreover, it's the principle! Don't claim to offer something and not do it.

Everyone needs a cause. Here's mine. Every couple of days, I hop on a plane. 300,000 miles last year, many of them on United Airlines. United offers in-flight entertainment, including a jazz "radio" station. This month, programming includes Wynton KELLY, Louis Armstrong, Red Rodney, Vincent Herring, Abbey Lincoln, Martin Sasse Trio, Arturo Sandoval, Freddie Hubbard with Woody Shaw, Billie Holiday, Bud Powell, James Moody, Mingus Big Band, Valery Pnomarev (UA's spelling). Not bad; certainly better than the dreck on the pop "radio" channels UA also offrers. Problem is, no one will ever hear the jazz programming. The jazz channel is consistently pre-empted by "From the Cockpit", the opportunity to listen in on airline communications. Beats Bud Powell anyway, yes? I don't know who to blame. Nervous passengers who think they are going to garner some insights about the flight that will make them feel safer (...as if a real cockpit emergency wouldn't result in immediate termination/editing of the broadcast...) Some meathead at UA who personally finds cockpit broadcasts better than jazz? Just general public malaise toward jazz? Somewhere along the way, UA must be paying for the rights to broadcast, or perhaps being paid to advertise the recordings. Whatever, I'm complaining. If you fly UA and prefer jazz to air traffic control, you should too. Okay, BeBop, off the soapbox.

Coincidentally, I was just listening to this CD this morning, around 2:00AM - first thing in the morning for me. It's really a solid album, worth picking up for the AOTW thing or just on general principle. Even a bit of Eddie Harris schtick, for those who never had the pleasure of catching him live...and those who did. Harris made a few questionable albums, but this ain't one. Right up there with his comedy album.

Really a good album. I won't say too much here, will wait for official discussion. But this one is worth buying.

Usually, bed at 9:00PM and up at 2:00AM. Varies a bit, since I travel constantly and and often still-sdjusting. (Last year, I spent at least a week in each of eighteen different time zones.) The morning schedule gives me a chance to work out, but does 'feel' a bit funny; all those years I spent as a musician, never getting to bed before my current wake-up time...

I'm with Sundog, #11 is essential. This was a pivotal band in jazz history (along with the related Earl Hines band of the period). These bands, along with a few others, bridged the swing to bebop eras (in oversimplified terms). Keep things in historical context and hear history being made. It's also good, fun music. Speaking of good, fun music, #9's probably a fine choice for this too.

Tap, always. Well, except Sudan, Benin and Bangladesh. But the questions is just so...1980s. The question in the 90s became "what brand or type of oxygen do you prefer?" Now, I've lost track.

Yep, that's the one. I picked up my copy of Heavy Exposure (and Jazz Hoot) not long after. Them's what we refers to as "my formative years".

Not sure what the current price is - right about your limit, I suspect. But I'd recommend listening to some Vandersteen 2s. They won't dazzle you with spectacular anything. And that is the highest recommendation I can make. They are musical in the long-haul. Also reasonably efficient. I've had mine 26 years.

Right on, Crown Records. My first jazz LP was a Crown. It was presumably, Stan Getz, whom, as a kid sax-player, I had at least heard of. Alas, I never found another Getz record that I liked as much. Then, revelation. Turns out it was actually Wardell Gray on that record. And I have ever since been a Gray-hound.

Happy New Year, Vic!

Yes, New York is special at Christmas time. (And I'm just a little less sentimental than scrooge himself.) I agree that the Lincoln Center Tower ain't what it used to be, pre-BK. Frankly, I don't know of any decent places to buy CDs other than mass-market stuff above about 23rd. (NYCD is okay)

On a slightly different note, isn't there usually a Mosaic (/True Blue) sale right around or after Christmas? I know one can't count on history as predictive, but...

Echoing and amplifying what others have said, I think many people consider all music, background music. They don't value it like we do. They don't buy heaps of recorded music. They can live with the cr*p played on the radio. Or nothing at all. For some, music is just a chance encounter. Casey Kasem (sp?) tells 'em what they like and, by gum, they do. Books are much the same - a way to fill a commute or kill time while breeding skin cancer cells on a beach. Even after parsing out those things that I actively dislike (television, movies...hell, most of pop culture), there are many things I'm not passionate about, that many care deeply about. Food. Jewelry. Watches. Shoes. Museums. Celebrities. Hey, to each his/her own. We've only so much passion (and time and money) to spread around. I'm applying mine toward music.

I’m naked. (See picture on ‘show yer face’ thread.) The following comments are prepared during first listen through of Disc #1. I haven’t read anyone’s comments and don’t have an internet connection as I write. Prepare for stream-of-consciousness. (What's the old expression - better to keep one's mouth shut and be thought stupid than to open it and remove all doubt?) 1:1A What is this, Andre Previn or something? That’s not a put-down, but the pianist seems to touch the styles of several others, but never digs below the surface. A little lite-stride, some slightly more bombastic stuff, but defused. The range hints at Jaki Byard, but the depth and soul just ain’t there. Unsatisfying. To be fair about it, I suppose this isn’t supposed to be particularly deep stuff. And so, the butterfly flits from flower to flower. 1:1B Fine band section. Definitely that clean new-lion sound. I actually like the tenor player. Pushing the boundaries a bit, but still solidly grounded. Harmonically interesting, with adequate rhythmic variation. Never loses the underlying structure of the tune. On my cheapie headphones and walkman, I can’t tell whether it’s a trumpet or flugelhorn. Reminds me of Tom Harrell, at least the TH of 20 years ago. Assume it’s the same pianist. A bit of McCoy, some Chick (?), touches of Bud, some short, choppy runs that seemed clichéd by the conclusion of his/her solo. (Please accept future uses of ‘he’ and ‘he or she’.) Is the whole band actually in the studio together? 1:2 This is definitely fun stuff. But there’s something about it that I don’t buy. Like Al Jolson, I’m not convinced it’s what it purports. It doesn’t sound like an old recording – the surface noise is too even. It sounds like ‘jungle music’ – excuse the expression – as reproduced by someone from Manhattan. But nice. 1:3 Nice trumpet solo. I really appreciate a guy who can use the lower- and middle range of the horn effectively, and doesn’t feel a need to Maynard. The sax player, like the trumpet player I’m certain I know, but I can’t conjure up a name. (The saxist is particularly familiar.) The group overall sounds like a lab band; not a college jazz band – too polished for any I know, even Leon Breeden’s. If you told me that this was actually one of Maynard’s bands from the sixties, I would believe it. 1:4 Two notes in, it sounds like the first Buddy Rich band I ever heard (1977). After about eight bars, I’m inclined to change my guess to Woody Herman of approximately the same, or slightly earlier vintage. I’ve got a couple albums – The Raven? Jazz Hoot? Giant Steps? Around and after the Bill Chase era. Tom Anastasio. Clarinet sounds like an aging Herman. 1:5 I only enjoy the top 1% of vocalists; this singer ain’t in this category. I suspect she is a Dinah fan; she seems to be shooting for Dinah’s early tone and approach in the early going. <<skip>> 1:6 Seems like this is a Rosemary Clooney song, though I wouldn’t know Clooney from a hole in the ground. (See 1:5) Gotta get that syrup taste out of my mouth. <<skip>> 1:7 Not sure what to make of the little snippet of Monk from the alto. I guess he’s hip. Dude. Little Rootie Tootie, is it? Oh I see, that’s the song. (I warned you this would be stream-of-consciousness; no backspacing.) I feel like this is one of those Concord duo series things at Maybeck. I don’t know why. 1:8 YES! Probably my favorite living musician and one of the greatest human beings I’ve met. One of those Muse LPs (Never Again?) from the early 1970s, as I recall. Secret Love. Tear it up, Moody. Need to hear the organ on a real stereo. Mickey Tucker, I think it was. Freedom Jazz Dance on the same album just rips. Not surprised to hear this on BFT#4 as Jsngry had echoed my love for this era of Moody’s work on some thread or another. I heard this was coming out on a CD ‘bout now. Buy it. 1:9 Ronald Shannon Jackson? I heard this once upon a time and place, but can’t place it now. 1:10 Anyone know where I can pick up the Baby Laurence “Jazz Hoofer” video? 1:11 Laugh or cry? I’m not sure. The trouble of hindsight. 1:12 Got that Mingus feel, for sure. But I can’t say I’ve heard this one before. Eric? I’ll shoot myself when I remember the name of the trumpet player. 1:13 Stan? No Zoot. Damn, this ain’t fun no more. I’m sure I know the alto player – not quite Phil, or maybe. What’s this, some Woody Herman band reunion? Nah, that doesn’t quite sound like Woody, but it could be. Arrrghhhh, aural/mental burnout. 1:14 Too many “Lester People” around (to use the term employed by a Bay Area DJ many years ago for Pres disciples). This sounds a little less pure, but not as harmonically ambitious as, say Warne Marsh, but he reminds me of…Paul Desmond. And the guitarist – Billy Bauer? Nah, I’m an idiot. What is this a Brubeck group and Desmond hawked his alto and Dave toppled backward off the stage? Or my walkman is playing sh*t with my mind. Wait, there is a piano. Could be a heavily sedated Brubeck. Definitely a drummer Brubeck would have used. 1:15 I Know That You Know, but I just don’t know a damn thing anymore. An Earl Hines-influenced piano. With, what, some kind of bongos? Lionel Hampton? Hines? SHOOT ME NOW. Even if I totally screwed up, at least I restrained myself from reading anyone else’s comments first or doing any research, other than in the dark recesses of my mind – which was apparently on recess.

28. The first recording I've bought in three years. And, hopefully, the last for three more.