JSngry

The $6,000,000 Man was a hit TV show that Oliver Nelson composed the theme for, that's what that was all about.

Maid Marian Marian The Librarian Melvil Dewey

It's ok, fun enough. It was one of Oliver Nelson's last projects, not one of his major efforts by any means...

Actually, I've substantially enjoyed all the later PJ sides that groove made, even the one with Ernie Watts!

Durham does no harm on this one, and Jimmy Forrest sounds great. Buy with confidence!

Because of my age (15 or so), I first heard of Waymon Reed when he was with Basie, in a review that referred to him as "former James Brown trumpeter Waymon Reed". And I know he was with Basie when I saw him in December of 1970. Well, those seemed, at the time, like two worlds that wouldn't ordinarily collide, but not too much longer I found a copy of Soul On Top and cleared all that up! Wondering what if any Basie records document of Fred Wesley's time with the band?

Not really "mad" at anybody, just kind of peeved at the faux-nobility of journalistic pontifications about long-gone wrongs and imbalances that point fingers and name names, when in the meantime, look at what's going on...where's the money going and why? Artists get on social media and complain, sure, but what's the effect of that other than an even greater cynicism about "the way things are". Well, yeah, but there are real people still making money, and that's not happening accidentally, so the same type person who gets all righteous about Aretha not getting writer money for "Resect" (which is a really stupid argument imo, Marc Myer's point about the accounting of payment due on sales if far more to the point), let's get one of the Righteously Indignant Heroes to get all up in today's business and name names and follow THAT money, ok? Just saying, I think an article such as the one in the NYT is a bit of paper tiger faux-bravery. I am neither impressed nor moved. I have, however, used "faux" twice in the same post, so you see how the whole thing degrades us all. Also, not impressed with the ability of "social media" to do too much besides stirring the digital pot. Real reform, or even justice, still takes place in the analog realm.

Indeed they have, but who's looking at management contracts, label deals (such as they still exist), etc. At root, Spotify is really just radio. The problem is that it's become the radio and the record store and the jukebox all rolled into one. Now, who is letting that happen without compensation being adjusted accordingly? "Spotify" is not an answer, "Spotify" is not a person, not a decision maker. "Spotify" is a brand name, a product.

They called him MISTER Bongo! RIP

And Steve Turre too? On electric bass? Or am I thinking of the one after this one? No matter, I like Chico Hamilton records, even the bad ones. I love the sound he gets out of his kit and cymbals. Always.

Is it just me, or does it seem that most of the time the ripped off (fairly or unfairly) stories are told, they’re always told from a safe distance looking backwards? Are these brave journalists incapable of looking at today’s business, or is everything today so goddam squeaky clean that there’s nothing to look at here?

Did Otis get paid every time “Try A Little Tenderness” got played? Or “Shake”? Does Carole King owe Aretha money? Hell, does Carole King owe ANYBODY any money?

No, not really. I need to hear all sides of him. It's not like I don't know his playing at, I just need to hear more of it, and in all contexts. I have no doubts, I've just been lazy and/or busy with other stuff. Certainly not a slight to Parker, more like a failing on my part. Or not. I mean, I can't saturate myself like I did when I was younger, all musics all the times, can't do it physically, mentally logistically, emotionally, just can't do it now like I did it then. Parker was one of the players I slept too much on when I could, so now it's time to remedy that. But it's gonna have to be on a piece-by-piece basis. "Phenominal" is not something that I need these days. I have a grandchild, so that seat (hell, row of seats, or really, that whole arena) is sold out. "Interesting", "original", "compelling", and "substantial", those will do just fine.

Monk used "Epistrophy" as his own break tune?

Crystal is great, so are Trappey's. & Texas Pete. For that matter, so is Tabasco. They're all well-executed variations on a theme. There's also "Louisiana", the one with the red dot on the label. For this genre, there are no bad choices!

Ms. Williams was in my mailbox today!

Hey, some of those extreme sauces are for real dangerous. I tried some of that Dave's uber-insane Insanity once (some kind of "special reserve" or something), did not respect the serving suggestion to just dip the tip of a toothpick into it for less than a second, and that shit got, uh....TOO damn real, and not just for a few seconds. In a stew or a soup or some other medium that it will diffuse in, yeah, ok. But to me, it's just stunt sauce. And it can be dangerous.

Did the Byas sides land anywhere else before/besides Classics?

What do you play this on to get the quad effect? Some kind of surround sound set-up?

Ok, y'all have Talked me into it, almost literally. I need more exposure to Evan Parker anyway.

Here's my thing - ok, one side says that "jazz" has to be this. And I get that. And then the other side says, no, jazz can be anything, and although I get that, uh...yeah, whatever. Taylor Swift is anything, and Taylor Swift is NOT jazz, right? Right! So either way, "jazz" is no longer a thing as much as it is an object fixed in time, place, and esthetic. If you're gonna be from Antarctica and play jazz, you better to be ready to bring the Charlie Parker and such, and really, why would you want to do that. or more to the point, how could you do that as anything except an abstraction based on what you think you should know? Call it the Grace Kelly Paradigm, play everything, know nothing, and then start dancing because that's something you DO know. And ok, sure, that's a starting point. But the "industry" today is so rooted in itself rather than in the communities that organically fertilized and birthed really unique visions with so may variations AND commonalities...I don't know, this shit is just getting too "digital" for me, not technologically, but just in terms of thought. 0s & 1s, nothing in between (when we know the reality that there's EVERYTHING in between), executing code, not writing it (or jsut scrambling somebody else's). Call me crazy, but that's how it feels to me. It's different, and it's a difference I don't know how much I have it in me to go with over the long haul. Young people, I wish you well, hope you get at least as much out of yours as I've gotten out of mine, but ours are not the same things except for each being our own things. Truthfully, given an opportunity to hear a new, young energetic string quartet playing, say, Bartok or Janacek or..anybody but Mozart (LOL) or a jazz quartet that's not really telling me anything that I don't already know, really know, I'm going to the string quartet. Because for me personally, "new" is, like the man said, in the ear of the behearer. There's so much I don't know that...why not? Or, why? I'm also quite happy to engage in "post-jazz" musics that seem to come from the gut and brain in more or less equal measure. Because if "jazz" can only be so much, what comes next? Something or nothing? More of the same is not really something, is it? Not a next-thing thing, anyway. Gotta go looking for things, but oh well, the more things change...

Cholula has been a long-time favorite in these parts. They're a sponsor for the Rangers' radio broadcasts, and "the flavorful hot sauce with the iconic wooden cap" has more or less been indelibly etched into my consciousness. Far from my "favorite", but I'll never refuse it!, it don't suck. I like a bit more heat myself, but it don't suck. They also have had a more interesting history than I knew: https://en.wikipedia.org/wiki/Cholula_Hot_Sauce Certainly explains their rise, in my lifetime, from a "specialty" sauce to a ubiquousness rivaled only by Tabasco. Despite it's name, my "favorite" is a locally-made brand that's been in production longer than I've been alive. It's not "hot" at all, it's just tasty as hell. You can literally use it on everything, and as liberally as you want, you won't get burned. https://www.albertsfamousmexicanhotsauce.com/about.html They make a "spicy" variety, but really,if you want a kitten, get a cat. When you have a dog, enjoy it as such and leave well enough alone. Interesting fact about Albert's and its origins. They served it with saltines, not chips. Go figure that one.

I found it on a blog and DL-ed it just to hear Morris Lane (already had all the Jaws stuff). I was neither impressed nor depressed, seemed like a really good player whose relatively unknown status among the general public today is not particularly in need of remediation. Jaws, otoh...hell yeah.

Don't really explore any more, but I always try to keep a bottle of Blair's Death on hand. The original, none of the "flavored" versions. For my palate, that's the one that lives right on the line of heat and full flavor.