JSngry

Speaking of goddam, those guys were so goddamn sloppy that adding a drummer would have provided the aural equivalent of the Road Runner finally looking down.

All you people with your drugs and other get-high shit, just stop it. If you really want to die, man up and just do it. Otherwise, fuck you, you insensitive assholes. You're hurting people who still want to live, hurting them a lot. But you don't care, right, it's ALL about you, right? Well, guess again.

pretty frisky for a goat, is that a goat?

wow, that sucks.

What does this mean, that he's already dead or just that he's in really bad shape these days?

The first record I imprinted on, I mean, at like 3 or 4 (and it's about the earliest memory I have} was a Jim Reeves 45 of a Roger Miller song. I am not predisposed to reflexively trivializing Jim Reeves, although I can't say that I get the deep global adulation that he inspired (still does?).

Choker?

An bouncy almost polka-y song about a bustling baby boy.

Yeah, I was totally ready to ignore this until I got an Amazon email which I was going to delete until actually looking at it and finding out what all was going to be on/in it. The drink (and the laugh) was about to be on me.

"Bimbo" doesn't at all strike me as crap. Check him out, Bimbo was a player!

I can't recall ever hearing a record with Al McKibbon on it that didn't have a reaaaaallllly deep pocket.

OMG, that Variety article TOTALLY buries the lede - namely that this new deluxe reissue provides both the original mono mix and a spectacular fresh stereo mix straight from the original 3 track, plus damn near 20 minutes of Sinatra working on "Angel Eyes" from the opening session of four that produced the final product. Sinatra alternates are quite often worth listening to in sequence, because every one is different. None are ever better than the ones that were chosen for release, but the process...my god, the whole "was Sinatra a jazz singer?" thing is stupid, really stupid, but he tries different things - significantly different things - every take until he finds his zone. The element of improvisation might not be core to him, because he wasn't somebody who could just let it flow every time out and have it land, but he definitely was not afraid to "improvise" - interpretational improvisations, some major, some very subtle - in search of a perfect take, a truly perfect take. On "Angel Eyes" he got one, but not at this session, and it's fascinating to hear the preliminary evolutions that eventually got it there. Plus, the arrangement has a nice, almost creepy into that was cut for final release. Who knew? For me, this is a landmark record (and lucky me, I only reallys tarted paying attention to it not too much more than a decade ago, so it's not yet gotten all Pete Hammil-ed to me), and hearing it fleshed out like this (and in the case of the stereo mix, opened and cleared up) is a true delight. The "Lush Life" buzz is a troll for the clueless. The meat is in the original album and the "Angel Eyes" saga. Have fun, you happy people.

That was an "instant classic" back in the day on Inner City. For that price, hell yeah.

Toshiko says "hi!"

How old he is now?

Bobby Burgess & Henry Hall.

pivot (or not)

pre-Code. whoa....

That motherfucker could PLAY!!!!! !

Al Cohn and Joe Henderson together? What was that all about? There's this video, but with Med Flory subbing for Perkins. Bummer about that, just because Bill Perkins. But otherwise, them guys be playing.

Trees and Grass and Things