JSngry

Yeah, this will be good, and might be interesting too. Hopefully both.

I would play poker with Ethan Iverson any time, and place. I would not would not want to play poker in the same...atmosphere as Earl Hines. That would be nuts.

new DSO musical director, starting with the 2019-2020 season. I do not know the name but that don't mean shit. Thoughts, opinions, etc. please?

I've heard that this was a look that Mingus adopted after going to London to film, what was it, All Through The Night?

Looks to me like the bins have all been repurposed. At least there's a bigass listening room now. And secured, well-lit parking, although when it rains, that grass might get a little nasty as far as tire tracks and such.

That's a life right there. Have you been regularly mustachioed in the past, or is this a new look? No matter, it works well with the suspenders. As my ass continues its devolution into negative land, I am increasingly using suspenders myself.

Nothing here, no idea what y'all are seeing.

Oh, the mix is terrible. But the grooves are crazy good. One Billy Higgins can be zeroed in on, all is well.

1. Muchisimo (B. Montgomery) (6:56) 2. Expressions in Blue (B. Montgomery) (6:59) 3. Darrah (B. Montgomery) (5:23) 4. All the Things You Are (J. Kern - O. Hammerstein II) (3:35) 5. Ties (B. Montgomery - M. Shaw) (5:45) 6. Stablemates (B. Golson) (4:54) 7. Rose Marie (B. Ighner) (4:31) 8. Soft Earth (B. Montgomery) (5:54) Claudio Roditi (trumpet 1, 2) David Fathead Newman (tenor saxophone 1, 2; flute 8), Eddie Harris (tenor saxophone 5, 6) Ted Dunbar (guitar 8) Buddy Montgomery (piano; vibraphone 3, 6; synthesize percussion 5) Ron Carter (bass 1, 2, 8), John Heard (bass 3-7) Marvin Smitty Smith (drums 1, 2, 8), Billy Higgins (drums 3-7) Warren Smith (percussion 1, 2) Steve Kroon (conga 1, 2, 8) Marlena Shaw (vocal 4, 5) Tracks 1, 2, 8 recorded at the Van Gelder Studios, Englewood Cliffs, N.J., November 4, 1986. Tracks 3-7 recorded at Mad Hatter Studios, Los Angeles, 24. 11. 1986. Additional recording and remix at Fantasy Studios, Berkeley, CA, December 1986. Landmark LCD-1512-2; Landmark 1512; Landmark Records LLP-1512 This is one of those records that plays both easily and well, where if you have it going int he car, ou find it pleasant enough, but when it comes time to decide whether to put something else in or to let it replay maybe just one more time...just one more time can end up being days on end. And oh yeah, the title cut should have been as big a hit as, say. "Compated To What" or something like that. Marlena Shaw is truly magnificent (a quality which is my no means a given with her output), Eddie Harris plays one of those solos that sounds like every other one of those solosof his that sound like that, only damn, how does he make it sound so GOOD, and Billy higgins (s;ong with some uncredited cowbellist), get into that handclapping wigglewaggleassshake groove that can not be faked, and oh my lord, this should have been a hit, this should have been a BIG hit. And obtw, John Her, pocket. And then right after that, Eddie Harris on "Stablemates". quirky as fuck, and just as soulful as the cut before. This guy could play both/all ways and have it come out sounding the same until you pay attention and then...he was a rare breed, that Eddie Harris, and I still don't know that he's fully appreciated, although maybe that's his fault as much as it is ours. The rest of the record id really, really good, borderline outstanding, programming is superb, as are the originals. And if you wonder about how Trane approached "All the Things You Are" harmonically in 1962(?), maybe it bore some resemblance to what Montgomery does to it here. Or maybe not. I see that this is going for a kind of "collectory" price on Amazon, and if it's become a cratedigger's curio, yeah, I get that, totally. No real YouTube representation either. Other than this cratedigger piece. Ted Dunbar! And not one of those prefab pattern grooves, cats are playing it in real time, adjusting as they feel it, more of that, please! If this would have been on the jazz radio of the time here, I would have remembered it. Not just that piece, but any of them. This is a good record!

I do miss Henry's playing, but other than that, highly invigorating, as always.

As for myself, I was historically put off by some music of this era (especially Webern) because it didn't hear the feeling in it. Time having passed, I've heard a lot of this music played by younger groups and they do indeed rock it. I wonder if maybe so many of the older performers were still figuring out what it all "meant" and now enough time has passed for younger people to have known it all their lives, and therefore be able to come at it with a degree or three of non-separation that helps make it, for lack of a better term, "warmer" emotionally. Same thing for listeners too. like anything else, something can only be "strange" or "unfamiliar" for so long. at some point, if you don't start hearing it (which is not the same as "liking" it), it's not the music's fault. I've heard so many variants on the "I intentionally played wrong notes on a Schoenberg thing and nobody noticed" smirkboast that hey - maybe not, but if you did that around people who really knew it, they would notice, and your ass would be out of the gig. That's how it should be, that's how it is now in most places, I think, at least places where it would be happening to begin with.

What's this about getting corpse urine in the mail? If it's what I think it is, a fish head sandwich will be next. And then, the "personal visits" begin. Shudder.... My advice is to make restitution ASAP. Those people don't play.

I've done "Priestess", "Croquet Ballet", "Soran Bushi B.H." and some less-involved ones like "Calvary" and "Thoroughbred". I'd like to have the time to do them all, they're magnificently detail pieces. When I play, I play tenor.

Did anybody here make it to the screening?

How did you hook up in Amarillo? Is there a "scene" there? Inquiring minds, etc.

The wit of Americais on Verve. Do they know that?

How are they doing that? At that price, even if you don’t like Errol Garner....

This is why you want to absorb all the music in the world, so you have it at your disposal when nobody is left to hand it to you.

Seriously, I’m, like, if you want this set, you don’t need to be sold or otherwise be convinced of the rightness of your purchase. You either know who these people were or you don’t. I enjoy pleasant commentary as much as anybody, but at what point am I wasting my time to read about how great Lester Young or Fats Waller were, right, I mean DUH that’s why I’m buying this fucker in the first place!!!!!!! Now, pictures, if they got some really cool pictures...think of how many thousands of words that would save.

Garner on Mainstream? My memory is failing on that, please advise/assist?

here, sure. not sure about there. It's a Grey area to be sure. But enough money can clear it all up, witness miles.