JSngry

If he plays at the Filmore, I hope he gets the Steve Miller Band to open for him. Or Don Ellis.

Naima did not have a session tape, she had a reference dub of the session tape. Probably the same order, but not 100% certain.

well, so are all kinds of people. There's a limit to what materials I'm willing to let into my life in the interest of sociological recreation research.

Not sure what that means, did they just copy the tape as is onto the CDs? They do give take #s, but not recording order. Impressions is in some kind of backwards order, and I think you can hear it develop if played in recording order. If you want to. I like to play that game sometimes, did it with the big Miles/Trane Prestige sessions and a few others. Sessions can have their own organic flow, neither better nor worse necessarily than product order, just different. Different flow, different perception. Same music. Let it roll like a big wheel.

Not afraid of downloads, burning my own, cannibalistic clutter sprawl or any of that. But what I do want is some kind of official art product and documentation that I don’t have to make myself. Sell me a download, mail me some bookielette, keep good enough CDrs are available, we’ll get it done. Old vinyl is great for going out and getting it. New vinyl is for suckers.

3x thru Disc 1, 2x thru Disc 2...I like it. It's good to hear those voices again in a not-yet-hardwired presentation. Familiar voices, known language, new conversations. . No illusions, just a good time. Im'a-gonna need to re-sequence this thing, though, wish they had included session order (if they still have it...). If nothing else, I really want to hear the takes of "Impressions" in the order they were played. And what do you tell the mythical new-to-jazz listener who hears this and like it? That's easy - keep going!

Has he played the Filmore yet? That's what all the hip jazz cats do these days.

Please confirm that this will be available as an American issue?

No. Bodily fluids are not the same as record scratches.

There's a comic!

Artists went home with acetates fairly regularly, did they not? For "Vilia", wouldn't they have had the master tapes of the compilation from whence it originally sprung?

https://www.axios.com/the-us-isnt-ready-for-the-ai-future-96649a76-1027-43ba-ae27-e24cb57dd194.html

Me neither, at least not until the Cleveland Eaton/Morris Jennings tandem took hold. Those guys got there for me. But here's joke on me - the Ramsey Lewis cut mentioned in my story above was, now that I think about it, "Slippin' Into Darkness" - but -"The World Is A Ghetto" was another one that got airplay around here, but by Ahmad Jamal. So, in this case, close enough indeed! Either way - they both connected to their target audiences and seem to leave most of everybody else totally cold.

Never made the connection between Last Poets and Hustler's Convention. But that makes a world of sense.

The perceived "delicacy" is perhaps a matter of tone. He's got a big sound that projects, but he definitely takes the "edge" off of it. The first guy I heard doing that was a guy named Ricardo Strobert, came to Denton with Roy Haynes in the late 70s. Gotta think that that was a thing that was going around, because it started happening on records (that I heard) almost immediately after, Strobert was just the first guy I heard doing it. So...whatever happened to Ricardo Strobert? I played along with that game when first getting into him and realized pretty quickly that besides from the odd meters, he also puts different accents/backbeats in different places among different instruments. It's a lot like James Brown, only when the one comes, it's not after the four.

Different time frames of peak popularity, perhaps? Most of the Argo RL sides I find are post-Sloopy, which was when, 65 or 66? Jamal's peak popularity was post-Pershing, which was when, 56-57 or so? Lewis definitely held his popularity higher than Jamal. His Columbia records were hits, many of the crossovered into the R&B chats. But Jamal had a second wave of heightened popularity around the same time. His 20th Century Fox records did quite well too. I'm not saying they were particularly good, I never took to them, but they sold and got airplay. Funny story, perhaps. I was playing a mix tape on a road trip (as if there's any other place for a mix tape), and Lewis' "The World Is A Ghetto" was on it. The trumpet player I was riding with said, who is that, Ahmad Jamal? I said no, that's Ramsey Lewis. The guy said CLOSE ENOUGH! and then we both laughed, because I knew what he meant, he came from that demographic that hear both of them as "popular music" in his youth, and even though the specifics of each player could not be more different, the "in the air" sound, yeah, there is that.

Ok, I have no idea about the American-Housewife-In-Germany demographic either.

Back in the day, a lot of African-American people my own age would have Jamal records that they brought from home, from their parent's collection. No idea what the German housewife demographic was.

I don't know that it's a curable condition. It's more about the instinct. If a dude's reaction to "trouble" is to get out and get away, that's Road Rat. If/when he (or she) comes to their senses, then they're in recovery unless/until the next time. After you reach a certain age, the literal road is less an option, but the need to escape isn't. Just look around... Moot point though, really, as the support system for that type of behavior is all but gone. Even cruise ship gigs are locked up and mind-fuck controlled.

Dude, that is an EXEMPLARY Road Rat. The road used to be like the Foreign Legion, if you wanted to get away and be where nobody knows/cares who you are, there laid the road, always room for one more, no questions asked. Especially if you were strictly a section player. Oh my, the potential for anonymity for those gigs was IMMENSE.

I thought they were the same guy? I liked that second one, he was a True Believer who seemed to not have to compromise his "jazz esthetic" to play the Kenton bag. Kinda like Dee Barton with a wider skill set. What he does on the out chorus of "Malaguena" is pretty much the only way to do it. But very few have. And I did see him in '72, the first time I saw Kenton. He was still bringing it like that. Oldish, skinny, and sweaty, working his ass off. Not just a True Believer, but dare I say it, a Road Rat as well.

I spent so many of my formative years in noisy clubs (jazz and otherwise) that the notion of hearing music without extraneous noise is still not necessarily, shall we say, reflexive. Especially since the introduction of electric mixers.

Part of me embraces the scratchy vinyls that are mostly found out in the wild (as they say) because it's tangible proof that the records were bought by people who didn't buy them with the intention of collecting/preserving them. They bought them to use functionally. So when you hear all that noise, it's quite possibly documentation of parties, seductions, records stacked 5-10 deep on a changer, just all kinds of things that would leave a noise trail. But that's just part of me. Another part really likes hearing the music present without those artifacts, so I can more accurately here it as it was recorded. I'm glad I can hear this music both ways - as it was recorded and how it was used. Too bad there's not more jazz radio DJ airshots floating around, you know that Jamal was coming out the airwaves on nice crispy/crackly (sometimes) AM and cool clean FM. Those are still other ways this music was used/heard, stillother ways that it sounded. But for our detached-from-all-that reality of today, yeah, this set will be as good as you can get of this material.

I knew that title sounded familiar, found it as side One Track One of The Definite Jazz Scene Volume 3 (of 3), a set of leftovers and other odds and ends. The date there is listed as 3/6/63 and the timing of the cut is 4:35. Coltrane is on soprano. So maybe it is, which to return to your first question of why they would have had this but not the rest of the session, is a very interesting question indeed. And #21 on the Billboard Top 200: https://pitchfork.com/news/john-coltranes-new-album-is-his-highest-charting-release-ever/

It's not that the playing is always "great", sometimes it is, sometimes it's not. But it's always good, and again, the ambient sound of the audience...it just sounds like what I remember from before things got all different.