JSngry

That piece above is not her's, it's Nino Roto. I think as such, "road-company Weil" is a context-specific mission accomplished. I love her "smooth jazz" (so-called. and that's another point of critical ignorance/condescension, I mean it never stops, does it?) records. I recall an interview with her and Swallow around the time of Night-Glo, and they were really borderline obsessing about Marvin Gaye, his phrasing in particular, and I'm sure, most people were thinking about the 60s hits (because that's all they WOULD bother to think about), but no, they were getting the mid-70s stuff, a lot of which wasn't really commercially successful and was also chock full of a very unique genius being realized. So yeah, there was a lot of "is she serious with this shit?", and i get that, sorta/unfortunately, but i think the answer to that has to be hell yes, she was serious. With that in mind, Night-Glo is like a Carla Bley-produced Marvin Gaye album with Steve Swallow as Marvin Gaye. I know that's not going to be something everybody has a taste for, but me, I love it. Never mind who else would think about it. Who else could do it the way it should be done?

http://www.organissimo.org/forum/index.php?/forum/34-classical-discussion/

Much of it to be included in the forthcoming Bill Barron Mosaic, I should think.

I know I hadn't! https://blogs.scientificamerican.com/observations/the-most-important-inventor-youve-never-heard-of/ Brains with cuff-links to match!

oh, maybe there's money to be made. WHOOPS, it's already been made! However - if this plants the flag for future listeners and eventually leads the way to more specific releases down the road, it's all good. Now I gotta ask - who are these "very insightful fans of Mr. Braxton's work on staff" @ Sony?

yeah, that was a surprise too, wonder how real that was...Miles in his 62(?) BFT talked some serious smack about CT, called him "old fashioned" and said that the critics were "drinking too much coffee".

Well, if you really want to do it like that... T. Dorsey & Barnett for the white bands, Lunceford & Chick Webb for the black bands. Just know that in all cases, you will be confronted with vocals and other such things that you're indicated are not to your immediate appeal. But hey, pop music gonna pop music, right? But also, pop music gonna get it right sometimes and give you exactly what you want. The one I have the hardest time with is Dorsey, but objectively, a great band/organization, especially after Sy Oliver came on board (cf Lunceford). That's a name to look for in general, Sy Oliver, he turns up in a lot of places, including Reprise-era Siantra! And do find room for Mouzon Trent. The guy only made something like 8 sides total, but they all swing like hell. Just get'em and put them away until the time comes, and if it never comes, hey, estate sale item! Oh yeah, Woody Herman. The First Herd falls into your general time frame, and that was one crazy band, a bunch of rude motherfuckers who didn't give a damn, and I mean that in the very best way possible. Put them ahead of both Dorsey & Barnett. imo, of course.

I was struck by how it's the first really "modern" article that I've read about CT (the personal details, etc. most/all of which were known to most, but not put in print to the best of my knowledge), yet the recordings referenced were mostly older/earlier. But yes, excellent read. Now tell me, what's this about the broken wrists? Sunny Murray references this on the interview on his ESP reissue, claims it was gangsters, and now mentioned here, but other than that...is this common knowledge that I've just managed to not get all these years?

definitely!

I blame progress. When I was coming up, I'd read the books and magazines, and listen to the old folks, and I'd hear all these names, only some of whom were in the record stores, and, you know, there was NEW stuff happening all the time, so, you know, you get a mental notepad and it's full of all these names, and it's like, ok, I might want to get to that at some point, and some point could be years, decades wven, and that was ok because there was all sorts of other stuff happening in real time, having a "things to get to" list was ok, because it was a given that you couldn't get to it all at once, especially if you want to be a Modern Man Of What's Happening Now, right? But now, geez, now it's like there's a "canon" and there's these notions that you gotta know it all and you gotta know it ASAP, and all these completionist anxiety takes root, people start collecting, not for enjoyment but out of guilt, and you know, a thread come up with like 15 or 20 names and it's like ARRRRGHHHHH INFORMATIONAL OVERLOAD, and just stop it y'all, just stop it. You got time, and when you finally do run out of time, it's not like the fate of your eternal soul is going to be affected by whether or not you got around to McKinney's Cotton Pickers or not. It's not an imposed test, it's an self-assignment to be completed at your own pace. Yeah, there's more music in the air (past, present, and future) that you or me or anybody else in the world can get to, Ever, Nevertheless, Alphonsew Trent.

That's only a problem if you expect to be able to do it in one easy step. Old people should know better than that!

Alphseor Trent was a force of Swing Nature from Texas, the biggest planet on Earth. You do the math! But do keep in mind that "sensory overload" is a function of expectation, not of fact. If you know that there's more to be had than any one person can every experience in a full lifetime, never mind a few weeks or months or even years, then resistance dissipates, and overload becomes flow, a big rushing nonstop flow of possibilities, potential and realized, imagined and unimagined, just a ginormous flow of reality urine from the all-giving bladder of life, Go with that flow, because it's all there is.

Dude, you're talking about several decades worth of music made in a time where every city, town, hamlet, burg, and intersection had bands because that's all there was. Of course there's a lot of names. And you're not going to learn about them all at once, that's impossible, I mean, what, you're going to learn about decades worth of musics made by literally thousands of individuals in one quick easy step? That's not good physics, redo the equation, please! That does not rule out Alphonseo Trent, it merely delays the inevitable. Some things are bigger than personal taste, you can run, you can hide, you can absolutely refuse to engage, but still, there they are. There they are.

Nothing rules out Alphonsoe Trent. Nothing is strong enough to get that done.

Kinda wish we had basements in Texas, that would solve a lot of problems. What's the reel-to-reel?

hell yeah, Alphonso Trent, hell yeah.

Do it as a Manga. There's a market.

I like her harmonic sense. It's somewhat "Puritanical", which I find a very effective element of her overall esthetic. I like how it's not A Radical Screaming At The Puritans, It's An Evolved Puritan Screaming AT The Unevolved Puritans, Her Christmas album has gotten played every year since it's release here. There's some nifty harmonic stuff happening there, for sure.

I split the difference and leave the same CD in the car until I get ready for something else - but I seldom have a drive longer than, at most, 20 minutes. Listening to a full album all at once now..it has to be a really special presentation, or in the case of getting through a few box sets a disc at a time on Sundays, part of a project. Perhaps it's just burnout.

Just as today once was yesterday, tomorrow shall soon be today. Have Coke and a smile, then emerge refreshed!

Yeah, that's it. So what's up with it?