HutchFan

Frank Foster & Frank Wess - Frankly Speaking (Concord, 1984)

Yep. I agree. 40 minutes is a typical vinyl LP duration. And we've all bought plenty of those!

Here's some cool stuff that I discovered in 2018, all of it new-to-me: Dizzy Gillespie - At Onkel Pö's Carnegie Hall, Hamburg 1978 (Jazz Line, 2 CDs) I've probably listened to Dizzy more than any other artist this year. The man's music never gets old. Chico Hamilton - Peregrinations (Blue Note) with Arthur Blythe and Steve Turre (on bass!); thanks to Jim S. for his Chico advocacy, prompting me to dig into Hamilton's catalog. Ethan Iverson, Albert "Tootie" Heath, Ben Street - Live at Smalls (Smalls Live) This trio manages to sound traditional and contemporary at the same time. I think Iverson's an exceptional pianist, regardless of the context. Johnny Lytle - Soul Rebel and People & Love (Dusty Groove/Milestone) Jack McDuff - The Heatin' System (Cadet, 2 LPs) Two new soul-jazz favorites. The Heatin' System is one of McDuff's best. How come it has never been reissued (other than for a minute in Japan)??? Dusty Groove should do their thing with it, just like they did with Lytle's Milestone LPs. Carmen McRae - At The Great American Music Hall (Blue Note) Some of the most compelling Carmen McRae that I've heard. She's with her working band, and you can tell. James Moody - Heritage Hum (Perception) Along with Diz, Moody's been another huge focus for me this year. (No coincidence there.) I could have easily listed five or six other new-to-me Moody records. But his flute work on Heritage Hum is irresistible -- so it gets my vote. Cal Tjader - Primo (Fantasy) Superb Latin jazz, featuring arrangements from Charlie Palmieri. If you think Tjader's music is fun but "lightweight," you might want to check this out. The more I dig into Tjader's discography, the more I'm impressed. Lucky Thompson - Illuminations (Groove Note) Originally released as two LPs, Goodbye Yesterday and I Offer You, this album features a stellar rhythm section: Cedar Walton, Sam Jones, and Louis Hayes. (Note to those who are electric-piano-averse: Walton uses both acoustic and electric piano on these sides. FWIW, I love Cedar's playing here, regardless of instrument.) Rhythm section aside, Lucky is the star of the show. His soprano sax work is otherworldly -- so vulnerable and naked that it'll break your heart. . . . If I'm picking ONE new favorite for this year, it's this one. Who or what caught YOUR ear in 2018?

Sonny Stitt - Blues for Duke (Muse) with Barry Harris, Sam Jones, and Billy Higgins Four master musicians playing warhorses from the Ellington songbook. Nothing revolutionary, but it sure does sound GOOD.

I've said it before and I'll say it again: You need to share your memories just like this one in BOOK form, Chuck. Write a memoir, please!

I'm about two-thirds of the way through the book. Based on what I've read so far, I'd recommend it wholeheartedly.

Dizzy Gillespie, Sonny Stitt, et al - The Bop Session (Sonet)

and

NP: Anthony Davis, James Newton, Abdul Wadud - Trio2 (Gramavision)

On the way into work this morning:

He shoots, he SCORES!

Jean-Paul Celea, Dave Liebman, Wolfgang Reisinger - Ghosts (Night Bird Music)

Lester Young - Lester Swings (Verve) I've been listening to lots and lots of Hawkins lately, so I thought I'd shift gears and spin some Prez. Now listening to the cuts with Nat Cole & Buddy Rich.

Allen, what's this about Byard? More details please, sir!

Don't be shy about sharing your thoughts on these, Rooster. Would love to hear your impressions -- after you've had a chance to hear & "absorb" them . . .

Jimmy Heath - Jimmy (Muse, rec. 1972) Reissue of The Gap Sealer, originally issued on Cobblestone. with Tootie (brother) and Mtume (son). I like this LP better than any of the Heath Brothers records.

EDIT: This is enjoyable, but I still think Silver 'n Brass is the best of the bunch. Of course, YMMV.

Just ordered these 12 LPs from a single seller on discogs, all vinyl VG+ or better: - Dexter Gordon Quartet - The Apartment (SteepleChase) - Coleman Hawkins - The High and Mighty Hawk (Felsted; Affinity reissue) - Sheila Jordan / Harvie Swartz Duo - Old Time Feeling (Palo Alto) - James Moody - Hey! It's James Moody (Argo; Cadet reissue) - The Albert Nicholas Quartet with Art Hodes (Delmark) - Dudu Pukwana - In the Townships (Virgin) - Pee Wee Russell & Coleman Hawkins - Jazz Reunion (Candid; Barnaby reissue) - Sonny Stitt - My Buddy: Sonny Stitt Plays for Gene Ammons (Muse) - Sonny Stitt - Sonny Stitt with Strings: A Tribute to Duke Ellington (Catalyst) - Gary Thomas - Seventh Quadrant (Enja) - Lucky Thompson - Dancing Sunbeam (ABC/Impulse; 2 LPs) - Mary Lou Williams - Solo Recital: Montreux Jazz Festival 1978 (Pablo) I think I did pretty well cost-wise. Lots of outstanding music for less than $50 total outlay.

Very, very true. Most of the stuff gets made at any time is going to be mediocre or worse. But, every so often, you hit on something that the "culture at large" (however fuzzy that may be) has forgotten (or never really picked up on in the first place) -- and there's no good reason for it, other than extra-musical factors. In those cases, the music can be good. Maybe even DAMN good. That's fun.

Me too. I'm lucky that way. Regarding the video: I was a bit surprised that Gioia focused exclusively monetary/economic angle when it comes to ownership. I think there's another type of ownership that's less tangible, but perhaps just as important. Gioia focuses on the music-makers -- the musicians, publishers, and music-business people. What about the people at the other end of the economic equation: the music listeners/consumers? When I make a (literal) investment in a something, I'm more likely to ascribe personal value to it, more likely to make a (figurative) psychological investment in it. In other words, one of the reasons that our culture values music less is simply because individuals don't have to pay for it. Think of it this way: If I plop down $18 for a new CD, I'm MUCH more likely to listen to it carefully with my full attention. As a result -- in the end -- I'm more likely to integrate the music into my life, making it part of my everyday "psychological furniture." I also think this is one of the (many!) reasons why music has become much less central in the lives of young people than it was up until the beginnings of music being ubiquitous and free via the Web. It seems like the idea of music being central to a person's identity is far less common now. When I started collecting -- and even up to today -- the music that's in my collection is somehow (figuratively) a reflection of who I am and (literally) what I value. But I don't think young people look at music that way any more. Last thought: Even if I'm more likely to see things this way (because I'm a collector and because I like the idea of a music library), the economic principle still applies. Amazon.com knows that I'm more likely to rate a CD or book higher AFTER I've purchased it. So, if the music is free, there's an economic loss taking place on the part of the musician and record companies -- but there's also a corresponding (less tangible) loss on the part of the people who are (or aren't) listening to it. I guess what I'm saying is that this is the psychology behind the economic principle of scarcity. If gold were ubiquitous, it wouldn't be gold.