JSngry

Sounds like a nice round figure to budget for, including meals, is somewhere between $1000-1250? That's staying for all of Sunday.

Hell, I can drive to Knoxville...the festival is how many nights? Lodging looks like it's going to be the big variable, lodging and, of course, time. I want to do this before all the old people die. Already I see fewer of them booked this year than last. I want to hear the old folks, the middle-aged, and the new kids. I want to experience the whole famn damily. Might end up being a retirement present to myself, but that's still 2-3 years off...

On "Moon Rays", it funny listening to Louis Hayes on the shout chorus. It's definitely a Basie-type thing, and the drum fills would be a perfect place to pull out some Sonny Payne-ish slickness (or even some Philly Joe type brashness), and Hayes, god bless him, doesn't have that going on just yet. To the point of the chart, though, it's such a perfectly written quintet chart that expanding it out for a big band or even an expanded small group could very well end up diluting it. I'm sure somebody's done it somewhere, but not sure if I want to hear it.

I followed your lead on that one a year or two ago and was more than a little well-pleased!

Roomful Of Teeth, eh? Carpe diem on those folks! This festival is on my bucket list...including lodging, what's an approximate budget to be there for the entire thing?

I remember now, AEC + some Shepp things as well. Coral Rock in particular.

Yeah, I woke up this morning thinking, yeah, DUH, Mingus!

very few records even begin to capture what it is like to be in the room with a big band...not these rehearsal bands, but seasoned players who know what it means to play and project without amplification. Those days are probably gone, but still, yeah, section(s), what a great thing to have had, just the sounds and the colors of the different bands.

How about using tubas instead of bassists, and having the guitarists play section parts? BIG sound! Or hell, just three horns: I don't know, by "big band", so you mean swing band instrumentation big band, or like, orchestral in general (as opposed to combo)? If you just mean concept of "chart" vs. "blowing", Horace Silver is renowned for that, but in my mind, he excelled on "Moon Rays", the arc of that thing is exquiisite even by his standards. The guy got real colors out of a quintet chart. I don't discount the presence of Art Farmer for that, either, Art Farmer did a lot of work on gigs that called for a keen awareness of section playing. Somehow he blends with Clifford Jordan to create a french horn duo, then you get a big band kick, and then...well, you know the record, I'm sure. It'sd a miracle imo.

How about a quartet? Check out how when he gives the horns a tutti passage, he uses the bass right with them, not just to fatten the sound, but also to allow him to give the ability to jink around with the horn notes, to make imply a fuller section. Miles talked about Birth Of the Cool as doing the Thornhill sound with the minimum instrumentation possible, but Mulligan took it further than that. he got that sound through very aware writing to imply the sound. Duke Pearson was great at that too, voicing a few horns in such a way to make them sound like more. Good writers know how this shit works, blends, registers, overtones, all that stuff. Anybody can use "hip voicings" but that's not the same thing as knowing the tricks, the science. Hell, Herbie, Speak Like A Child. that Herbie's Gil Evans record, that kind of thing. Not just distributing the notes of the chord in a quick and easy sure-fire way, knowing about things like weight and movement, how it all works together, that's somebody who will get you what you're looking for, a real writer.

A big bunch of George Russell records. and of course...

Started it today, and yeah, Basie band in good old-fashioned swing you into bad health mode, geez, big bands don't SOUND like this anymore, hear Basie live twice and geez, all that air moving all around you...one of the finer things in life. What never ceases to amaze me about "ill Prez" is how his mind adjusted time. He'd bend/stretch it to his will. The phrases all started and ended on point, but in between, jeeeeeezus, a normal human would simply collapse. At best, there would be some heistation. But Prez jsut made everything move at its own speed within itself. Gotta love Pee wee Marquette too, the legendary half a motherfucker.

Thanks! What else besides the Mingus & Gillespie things did they give to Fantasy to release on Prestige, anything?

The older ones of those were originally released here my Mingus/Roach on Debut. There was some sort of reciprocal agreement with a eurolabel of the same name, which is how some things like the Ayler & Cecil Taylor/Montmarte tings saw their original release on Fantasy/Debut here. How they all got over to America (the label), I can't tell you. But that label saw some of its 70s (Mingus and Gillespie come to mind) dates released through Prestige, which was then part of Fantasy (which had by then taken control over the Mingus/Roach Debut label.

My bad, it's giggle, not google.

google

Because there is no such thing as a bad Jaws record. I will listen to Lockjaw play anything, anywhere, any time. I would not kill a loved one to defend Lockjaw's honor, but I don't have all that many loved ones, so you've been warned. Hell yeah, Lockjaw Davis.

Mine would be Brilliant Corners, but, yeah.

I've seen two mentions of "High On An Open Mike" here today. I love that title, it's like for once, being high really does take you out into space, infinite space (aren't there still radios and tv waves out there in space?) and you live forever. So hey, Jackie & Roy were there for that!

Julius Watkins!

The 12" that were from my generation (and probably several generations) were red and green (or, it seems, green and red), Vols 1 & 2: but then if you wanted to get )most of) the rest of it, you had to go to a Milt Jackson LP from the same series: I get how p[eople back then weren't necessarily looking at records like this as a thing to be collated and threated archively, they were just looking for some good records, and for Blue Note, hey, they kept them in print damn near forever, so there had to have been a market. But by the time I got there, it seemed a little scattered. So BN gets sold to Liberty, Liberty gets sold to UA, these suckers are STILL in print, only one day, this is on the shelves, and I'm like, holy shit, HERE we go: Everything from those old LPs, only in session order AND the two Kenny Hagood dates which to me were (and still are) a TOTAL gas. I was long familiar with the "celebrated" solo version of "I Should Care" but here, on this vocal record, all the key elements are in there (which again, I'd never have guessed that tthat would lead to THAT excpet in retrospect). Then the Mosiac came out with a buttload full of unreleased alternates, and now there it all is on CD, but...I couldn't wait for all that.