JSngry

If you want to make a different type of record, you could take the best solo work from both The Price You Got To Pay To Be Free and The Black Messiah and have just one hellacious Cannonball Adderley - Jazz Alto Saxophone Badass Star record. But nobody involved wanted to make that kind of record, nor am I sure that I'd have wanted them to, really. Although, that's in retrospect.

Austrian homies. Check it out.

His classical work is not without merit as well.

We got up to 81 today.When I wake up tomorrow morning, it's to be 47, and then down to 42 before warming back up to 46.

Quirky, in the good way. A lot better than I was expecting.

So, is the woman on the left pregnant? Maybe she found another nickel and called Neil instead of that asshole Steve.

At last, the full footage!

It's a star-spangled world when your flags are unfurled. So, uh...unfurl? #NOTMETOO! Corny song, singer is not at all to my liking, but some guy named Stan Applebaum wrote a great chrt for a ban that knows what to do with it. OH SHIT! That's the guy that did the Charles Colin Bird book, I knew I remembered that name!~

Thanks. Wonder how that has eluded the jazzdisco site.

What about the Error Garner tracks? I can't find anything firm here: https://www.jazzdisco.org/erroll-garner/discography/

Still learning this new scanner, but there's the article.

here's the shows: http://otrrlibrary.org/OTRRLib/Library%20Files/J%20Series/Jazz%20Club%20USA/Jazz%20Club%20USA%20-%20Tracklist.pdf a lot of these are live dates described as "VOA original recordings". There's one thing of Coleman Hawkins & Roy Eldridge being backed by a group that includes Horace Silver. Looking this over, how much, if any, has been released commercially."commercially"?

At the end of that show, they play an Earl Hines record calles "Space Ship" with a really Jug-like tenor outing. A little research shows it to be Morris Lane. Totally surprised by that one. It's on C. Classics 1953-1954, gotts go looking for that one, that whole series, file under You Don't Miss You Water Till Your Well Runs Dry.

Stan Kenton would like for John Lewis to be more masculine in his music: http://otrrlibrary.org/OTRRLib/Library%20Files/J%20Series/Jazz%20Book/Jazz%20Book%20xxxxxx%20%232%20AFRTS.mp3 and also explains his fascination with Earl Hines!

More Brewers home games, please!

It was a fun concert. A little light, but fun. The big takeaway for me was this - what the fuck is C-Minor, anyway. The Beethoven piano concerto is, supposedly, in C-minor, but I remain skeptical that it was really in anything minor. That guy...

Nah, it's "Headquarters", heard on You Tube (above) and now, on The Lost Tapes Vol 2. https://www.discogs.com/Don-Ellis-The-Lost-Tapes-Vol-2/release/12323088 It's that first bridge I was rememberng, and for some reason remembered it happening on a slow blues, a chromatic(quarmatic?) descent from the 1 down to the VI, but that's in no way what it actually is. Oh well...

DSO tonight: RUTH REINHARDT CONDUCTS DAVID FRAY PIANO HINDEMITH Concert Music for Strings and Brass BEETHOVEN Piano Concerto No. 3 BEETHOVEN King Stephen Overture KODÁLY Háry János Suite Very encouraged by the lead line of the opening night review by the normally staid Scott Cantrell: Well, that was a fun concert. Well, good!

For some reason, that album was hard to find here in the mid-70s, which was when I wanted to hear it. Took about a year before stumbling across it in a thrift shop. I was kind of, uh...."impressed". but more by how the guy from Fleetwood Mac didn't suck playing shuffles, at least not then. I did like "Lay Down Sally", but then again, I'm a sucker for a good train beat, which he doesn't use, but every cover band I know does.

ok, my bad, it was Headquarters and it has nothing to do with a slow blues. It was the bridge I was thinking about, some really fucked up shit! I would like to hear something like I thought I was remembering, though.

I guess you like it more than Cannonball did.

B-3 Buddy Band. It's things like this that make me think that sometimes Buddy's bands didn't swing, but not because of Buddy, he's swinging harder than his band. That Pacific Jazz-era band did not have that problem.

I really dig how he developed from a guy who at times had more ways of saying things than he had things to say into somebody who recognized that it was never over and proceeded accordingly. He stealthed the shit out of it, didn't always lead with his evolution, but he didn't hide it either. For whatever reason he made those records, and for whatever reason people bought them at one point or another, they were going to get a dose of the evolution of Cannonball Adderley's actual playing. and I also dig how he could have done what so many people choose to do, which is to just hire new people to sound like your old people ao that you can sound like your old sell because that's your only self. So different than 1959, not better (or worse), just evolved, matured..older in the good way.