JSngry

The monster bites. Frank just don't give a damn! "Mr. Sinatra" indeed!

Maybe the real lesson here is to stop making albums and start making singles or EP-like things. I'm not finding that many people today have that much to say, really, if they have any point at all, it's generally "a" point. Save everybody the time and the money and make that point, then go away to let it take root, if it will. NP:

Tanned and refreshed, I hope!

When I want to listen to they type of music I'm in the mood for but don't want the responsibility of figuring out exactly what that will be, I use Pandora. It's like good radio only without the DJ. I don't mind ads and really wouldn't mind a good (enough) DJ, but, hey, 21st Century, right?

Can't see the video at work, but I can tell you that Dave Kikoski has played, very, very, very well on some Monday Michiru albums. Didn't sound like he was playing down to or outside from the material, just sounded like he was playing, period, engaged not in "style" but in playing music of the moment, in the moment. That's what I like to hear.

"Ghosts" is a composition I know. "Enter Evening" is a composition I know. "Birds Of Fire" is a composition I know. Etc. "Compositions I know" does not equate to "pop songs" (standards or otherwise). I still say, if you play better (meaning...all kinds of things) than what came before you, it'll be good. If you don't, there'll just be more articles about hey we got more records than ever and nobody's paying attention, what's wrong? The elephant in the room is that most people aren't playing better, they're playing the same. And in this case, audience indifference is the canary in the coalmine. so between elephants and canaries, what is that, a flying elephant?

So, what's up with this Pinky Blinders thing?

People should just play better music, and if they're not up to that right now, just don't make a record. The world will survive. Or hell, just don't play at all, stay local and remain unknown. Again, the world will survive. 60 minutes or 20 minutes, if it ain't happening, fuck it, it's too long at one minute.

Discography As producer Dale Oehler at piano (2008) Title Year Label Carnival of the Spirits (Moacir Santos) 1975 Blue Note Records|Blue Note Montara (Bobby Hutcherson) 1975 Blue Note Records|Blue Note Can’t Hide Love (Carmen McRae) 1976 Blue Note Records Waiting (Bobby Hutcherson) 1976 Blue Note Records Knucklebean (Bobby Hutcherson) 1977 Blue Note Records Promise Me the Moon (Dave Sanborn) 1977 Warner Bros. Records View from the Inside (Bobby Hutcherson) 1977 Blue Note Records Super Blue (Freddie Hubbard) 1978 Columbia Records Un Poco Loco (Bobby Hutcherson) 1980 Columbia Records As arranger Title Year Label Inside Bugsy (Bugsy Maugh) 1968 Dot Records Shaft’s Big Score (film cues) 1972 MGM Trouble Man (Marvin Gaye) 1972 Tamla High Energy (Freddie Hubbard) 1974 Columbia Willie Dynamite (film cues) 1974 MCA Hissing of the Summer Lawns (Joni Mitchell) 1975 Elektra/Asylum Who Is This Bitch, Anyway? (Marlena Shaw) 1975 Blue Note Records Can’t Hide Love (Carmen McRae) 1976 Blue Note Glow (Al Jarreau) 1976 Warner Bros. Promise Me the Moon (Dave Sanborn) 1977 Warner Bros. You Light Up My Life (Andre Kostelanetz) 1978 Columbia Records Super Blue (Freddie Hubbard) 1978 Columbia Records Blue Note Meets the L.A. Philharmonic (Bobby Hutcherson) 1978 Blue Note Records Silver and Strings (Horace Silver) 1978 Blue Note Records Suspended Animation (Randy Crawford) 1979 Warner Bros. Records Un Poco Loco (Bobby Hutcherson) 1980 Columbia Records Secret Combination (Randy Crawford) 1981 Warner Bros. Records Nightline (Randy Crawford) 1983 Warner Bros. Records Say You Love Me (Jennifer Holliday) 1985 Warner Bros. Records All the Way (Jimmy Scott) 1992 Sire Records Invitation (Joe Sample) 1993 Warner Bros. Records Something Special (Dolly Parton) 1995 Sony Records In This Life (Kirk Whalum) 1995 Columbia Records Love Walked In (Diane Schuur) 1995 Verve Records Forever Love (Mark Whitfield; feat. Diana Krall) 1997 Verve Records As player Title Year Label J. R. Monterose (J. R. Monterose) 1964 Studio 4 Inside Bugsy (Bugsy Maugh) 1968 Dot Records Promise Me the Moon (David Sanborn) 1977 Warner Bros. Super Blue (Freddie Hubbard) 1978 Columbia Records Live at the Tender Trap (Reissue) 1993 Fresh Sound

My first look at a Tim McCoy movie. It's a western with airplanes, parachutes, portable short wave radios, and radon rays that cause airplanes to lose power when shot up from a ghost town. And of course, good guys and bad guys, both with guns. It an experience not unlike listening to an early 70s Cannonball record, and I think I would enjoy seeing some more Tim McCoy pictures.

This is why you get cats like this to make that kind of record, Thad writes a quick chart on a semi-popular Chick song, they come in, read it through, make adjustments on the fly, play the chart the way it needs to be played, everybody gets paid and the label has a record. Whether or not it's "art" or not is not the point, the point is that they got a record, Carmen McRae has visibility, she gets gigs, etcetcetc. And again - everybody gets paid in some form or fashion. Carmen McRae weren't never gonna make a true pop record, nor was Blue Note. But that propbably why somebody gave the ok to paying Tahd & Gerald Wilson and Johnny Mandell, and as far as end results, Carmen's version of you can't hide love (and really, you can't) is no better or no worse that Dionnnnnne's version, which undoubtedly cost a lot more, and to what end, really? I mean really, you don't see Gerald Wilson on any dionnnnnne Warwwicke records, although at this point, that might have been nice, because really, what's the point in this?

I think I get why people like it, but put me down in the less-than-personally-convinced column, if you're making columns, and if you are, why? But oh (and oh my, for that matter, I see that this one is also on the list, and it ain't bad for waht it is. If you're going to do that kind of a Carmen McRae record, those are all the right people to do it (except for George Butler, who was never the right guy to do anything). I only have this on a fucked-up LP, so this on CD might be something I can go forth on. Hell yeah, Gerald Wilson, hell yeah. Hell yeah, Cole Porter & Johnny Mandell, hell yeah.

Indeed it does. there's my Saturday morning one-click.

That Marlena Shaw is for sure a classic. Highly recommended.

Apparently, they had very creditable "West Coast Jazz" for the people at Fort Bragg's enlisted men's dances.

But that's a great session/record.

Soooo...is there a reason why they can't solicit pre-orders to see if a final pressing is tenable, like they did with the Bee Hive set? Or are they just like, wow, who knew, sorry folks?

They oversold the set. Wow.

The two The Art Of Improvising LPs make for a totally different listening experience than do the Half Note sessions. I'd not be without any of it, but for going deep into Warne Marsh, the Revelation LPs force you to confront it head on, no buffers of heads, other soloists, nothing but Warne improvising - and with so little piano behind him on those excerpts, if you don't know how to listen to bass lines, you may well be at a loss as to what changes are being played. When Lennie made that program, he knew exactly what he was doing. They're niche documents for most people, to be sure, but if you're gonna get hardcore with Warne, they are essential documents.

another thing I like about the REALLY old B Movies is watching both actors and directors leave all kinds of vestiges of silent acting in there, It's not unlike listening to a jazz record where there's a "modern" element in place, but it's all interpreted "older". And then there's the cast members who were active in silent films aging into support/character roles in soundies. That's a trip when you look up some name that you saw in a side role in, like, 1935 and find out that 20 years earlier, this cat was a PLAYER.

Like, when was a "coupe" referred to as a "coo-pay"? Seen that in a few of these. That and drivers of a car getting in and out on the passenger side, front bench seats, I guess. That and the whole phone thing and how it affects behaviors, timings, etc. These movies tend to be about an hour long, and are every bit as well made as a typical hour long TV drama of today, and usually have better acting...or at least acting that's more fun to "play along" with. Not great art, ever, but, you know, so little of anything really is.