JSngry

Ok, this is the one cut that Society & Ursula both put on their respective albums: This is the album, the CD seems to be a little pricey now, not sure if I'd say go there no matter what, but I dug it well enough to buy a "real" copy and still listen to it often enough. It's got that Herbie/Manchild With All The Pop Removed vibe, which is really not something that a lot of people have engaged it, and yeah, there is something there to look at, imo. "Nu Jazz", I dunno, whatever, you know, labels are for selling, ultimately. I think it's just interesting, creative music making non-obvious choices in service of a non-mass-hypnosis POV. Not that there's anything wrong with that, just sayin'...It's not particularly "improvisational", everything is in service of a compositional architecture, but it "sounds like" "jazz" and feels pretty in there so...yeah, whatever. They made good, interesting choices, so hey everybody, tuy the record today! But like I said, they made another album a little while later and it really sucked. Oh well. It has a chicken on the cover. Don't buy that one.

Not quite. Acid-Jazz is, in general, more about grooves and such. "Nu Jazz" is groove-based as well, but gets more into the, uh...."compositional" aspects of things, sorta, kinda. I know them when I hear them, usually. Not being that big on "styles" anymore, all I listen for is does it make good sense to me to be doing that. There was a euro-group called Society , maybe The Society, that put out an album that set a really high bar for this type of thing. Their next record sucked, and I lost interest. But that one album...it had some real vision to it. So it can be done.

Hell, Pacific Jazz did a bunch of samplers, never mind the classic WB Loss Leaders series. I still have the BN sampler from the 90s. I like samplers.

Marchel Ivery was stationed in France, with the Army, and was at this concert. Until the day he died (figuratively, of course), he said that Trane just fucked everybody up that night. Everybody. including himself, a young African-American South Dallas Tenor Player who had been very tuned into everything that was going on with Trane, Sonny, Hank, everybody. I an maybe understand somebody today not getting hit by it, whatever, but to be there that night and not hear what was happening, whether or not you liked it or not, hey, but hearing that and not knowing that something was happening (c.f. Mister Jones), you would have do be deaf, literally or figuratively, and/or culturally obtuse.

Bley not white, Canadian.

Bley & Gilmore made one of the great records.

It is a cultural thing, but that's not an excuse, mind you. Check this out, for some reason, the first part of this (the verse?) puts me in mind, somehow, of "Cubano Chant"...or something, what is it? Some "jazz standard"? Before it turns into the schlock, sounds to me like something Blakey would have made a record of with somebody.

Cherry got 3! Pat Metheny called this "the shot heard around the world", and, uh...i think sound might have moved a little slower in those days, to get ALL the wat around the world, RCA being a little lax about keeping this easily available for a decade or 2-3, but yeah, once heard, never forgotten, Paul Bley here. There. And, of course, everywhere.

well, yeah.

Not particularly "compelling", but more than interesting enough to stand up to a few repeated listens today.

I know what they're both getting at, and they're both totally appropriate.

Side 2 of Autumn is my favorite Ellis Columbia, period. Some pretty amazing music, all things considered, this was the Ellis band, imo. Fearless as fuck, and on those type of charts, fearless is a pretty great accomplishment. People talk about how great Dizzy's 40s big band was because it was fearless (gotta hear the live things to get to it, though), well, this is a different "type" of fearless, but once you get down to it, fearless is fearless, period. And these guys, on that night, were fearless. I'm also thinking that the move to digital might be good, that 2nd side was about a half-hour long. That's never been a problem for me and LPs, but I'm too dumb to know any better.

Yeah, I liked Norman Connors with Pharoah & Sam Rivers, loved his first few solo records and appreciated why he went into that different direction with "You Are My Starship". But 1968, in that company? I have no problem believing that he was just not ready for that then.

Just don't let him anywhere near a TV when the Dorsey show is on, ok?

I think there's great fiction to be had out of Gerry Mulligan making his way west hitchhiking across america with Gail Madden on maracas as needed. At this point, maybe an anime or something.

So Bird lives after all, right?

yeah, i drool at that one until i get to the end and see Norman Connors and that it's 1968...I'd like to hear it, but don't know that I'd pay to do so.

Of course my wife lives in Texas. Where else would she live, duh.

wait, what, you mean like that Stormy Daniels chick? I hardly think my wife would allow that!

http://www.bluenote.com/artists/harold-mabern

For some reason, I was thinking that the BB Capitol lps were released in Duophonic rather than Stereo, but whaaaa?????? BOTH????? http://www.esquarterly.com/bellagio/monostereo.html

Did Brian even do the stereo mixes?

Can't say that I've ever found Lee Morgan "dull", but I can say that the deeper into the vaults they got, the more I understood why they were in no hurry to release those things. But that took a while, for real. The two-fers and the LT shit was all good with me. Will also freely stipulate that I was alive and engaged in some of the post-Lee Morgan socio/musical aftershocks that went on for quite a while, and that I had pretty much heard all the Lee Morgan records I "had" to hear, by, like, 1990-95, somewhere in there (although I kept/keep listening to this day), but still, that was a long time, 20+ years. But I can see how somebody who didn't get imprinted like that might not have the basic "recognition", and therefore relatability, of what all that music "was" We all come from where we come, ok? But geez, Lee Morgan might have had a fixed language, and on some days he amped it up higher than on others, but I don't think "dull" would ever apply to him (except for The Rajah, and that date with George coleman/Julian Preister, but I seem to be in the minority on that). That motherfucker had the fire, whether or not it always burned as brightly/hotly as it could, hey, you know, do the math and apply it to your own life, but never was it not there.

https://www.nytimes.com/1984/02/26/arts/celibidache-arrives-at-last-and-speaks-his-mind.html He has opinions!

If I didn't have too much riding on it, I could maybe be convinced to wager tomorrow's lunch money that Miles spent the next 3-4 years recovering from and/or processing that one night in some form or fashion. I think Miles knew what he was hearing, and what the implications were, and wasn't sure if he was going to want to deal with it or not. We do know that Miles had to more or less bully Trane into making that tour, that Trane was all set to get his own thing going, ready to get going on something besides standards and blues, he did not want to continue riding the Miles wave. Miles knew it, and I have to think that at some part of him knew that he was going to become "old fashioned" if he kept on his same path, but Miles being Miles, he knew that his career was really just beginning to enter a new plane, he had plans, you know, life plans, and hearing Trane just tell him in such blunt terms (musically) hey, you can keep doing this if you like, but THIS is where I'm going, I think Miles must've thought back on Coltrane and alcohol and junkiedom and all the times he had bullied/fired him before and realized, oh shit, this guy is not that guy any more, what am I going to do...better hire Sonny Stitt for the next tour? And then what, what the fuck am I going to do going forth, how much longer do I have for THIS? That's a lot of shit to process in a simple two-sets worth of a gig, but you know, this music, it can get real sometimes. Really real, like question the essence of your being real.