JSngry

I'm thinking that instead of looking at it a "jazz-influenced legit", it might be better, at least/especially in Wilson's case, to look at it as another vernacular of the African-American musical vocabulary. Language going where it will, which is more organic thing than "styles" "fusing". I listen to Wilson's work and almost always hear a very clear language, and it is one I clearly recognize.

Hubert's tenor playing came as a jolt to me when I first heard it, and put his flute playing into a different light. I always found him to be a little "light", not in chops, but in weight. The I heard his tenor playing and realized that he wasn't looking for that on flute, nor did he need to. He had plenty of that on tenor already. So, flute was a different trip for him than was tenor. Still not an excuse for those lame pseudo-disco records of the late 70s but oh well, that was just business, as they say. I believe that he's been a lifelong Jehovah's Witness, which is apropos of nothing except that it's a strain of African-American culture that is both long-standing and under-looked. what with the emphasis on the Baptist/Sanctified churches and their influence on/in "jazz".

I can relate to this, not just at Tower, but every time I went to a good record store that was more deeply stocked than the last good record store. So much music...

As an organization, it was probably doomed to fail. As a movement, there was no option for it to do anything but grow. Personalities are what they are, but so is the momentum of inevitability.

http://slippedisc.com/2018/03/death-of-an-afro-american-composer-80/ A St. Louis interact-er with Oliver Nelson somewhat, as I understand it. I was late to his music, but have been awestruck to one degree or another by it ever since. Strong. RIP.

I'd not looked at GQ since, like, the very early 80s when I had both the incentive and the disposable income to try and dress sharp at all times. But Brenda had all these airlaine miles that we weren't going to use and they offered magazine subscriptions. GQ did not even make the second cut, but you know, use 'em or lose 'em. So far, I am not mpressed, but there does seem to be one little "nugget" each issue. But the clothes that are GQ-y now, I couldn't wear them even if I wanted to.

Sonny Rollins "Way Out West" Date d'arrivée précédemment estimée : 03 avril 2018 - 05 avril 2018 Nouvelle date d'arrivée prévue : 28 mars 2018 - 30 mars 2018

And I doubt that proof will be found. That seems like the thing that would have been more or less "common knowledge" by now if it was true.

I got them all right, but am skeptical that Bird had the King super 20 designed for him, or whatever the question was. He played it, yeah, but I don't think it was designed for him, I'd need solid verification on that. But it was the only answer that was even half-possible.

As important as it is to recognize how much he resembles his forbearers, it's equally important to recognize how he differs from them. His overall constructs are not theirs. This needs to be appreciated, and if one is so inclined, enjoyed, because he is not "just" replaying the 70s. There's too much hip-hop esthetic in there for it to be simple imitation, it's different.

This a near-perfect of what is My Personal Jarret Paradox - music that I don't much like on it's own played in a way that I very much do like, or vice-versa. I love it when that paradox doesn't occur, but it usually does, sooner or later. Sometimes I wonder if the real lesson that Jarrett learned for his time with Charles Lloyd is that it's not only ok to be the weakest link in your own band, it's actually a viable commercial proposition.

It's not so much derivative to my ears as it is reconstructive/remix-ive. It's like it's all of these 70s "spiritual jazz" records played at the same time for every song, all of them turned into one song that is different every time but still the same song. I don't know but that the poster (Thom, perhaps?) who wondered if it was electronically created or whatever is that far off, because people younger than us have been living with sampling and other means of digital reality more or less organically for a looooong time now, so for them, this "all at once" notion of what music sounds like is perfectly natural and real. It's like, they don't have to wait for the next Doug Carn or McCoy Tyner record to come out to know what comes next, those records already came out, so they already know what comes next. So, put it all together, it doesn't matter, the wait is over, as far as that goes, here is what happened, put together and made to come out, again in spurts, but a new kind of spurt now, new spurts of reformatted yesterday. Analog people are getting left behind for not accepting Cecil Taylor and Albert Ayler as quantum mechanics and instead deciding it was a bunch of chaotic jumblenoise, everything happening all at once. Well, like it or not, that's a provable scientific fact, and if analog won't embrace it, digital will not only embrace it, it will make babies with it. Now, whether or not digital has your best interests at heart...we'll see. But humanity had a choice and they made it. So here we are, these are our babies.

Two popheads doing that now is just cute. A redefinition of what the brain and body can do in a more full coordination is inevitable, just hope the enemy doesn’t get there first again, because they will, if we let them.

The Kamasi stuff I’ve heard has been easily enough identified. It’s got that quality of all the trappings happening all at once that hardly ever happens the first time around, in real time. That’s not a criticism, just an observation, maybe something to do with turning answers into questions and not the other way around. But people need their versions of what they need, so there it is. I’m neither offended by nor interested in that, I got my version of it already, so, you know, god bless the child.

I tell you, there's a new future in front of us if we choose to.

and a strong left hand!

https://sunramusic.bandcamp.com/track/blue-lou https://en.wikipedia.org/wiki/Tin_Can_Alley_(album)

Let's look towards the future. I'm proposing a new way to bring jazz to dancers and dancers to jazz - make them into the same thing, make the musicians dance while they play, or, if you like, the dancers play while they dance. And not just soul band steps and/or marching band moves, real dance dance. This is not as radical a proposition as it might first seem. If, as many claim, today's musicians are "playing for themselves" while audiences are either covertly or overtly bemoaning a lack of "dance feel" in these musics, then what better way to solve the dichotomy than having the dancers and the players be the same people? Genetically, that might seem a tad incestual under current conditions, but it's current conditions that are the problem, shit's already too damn inbred.

If you do a You Tube search for "accidental stereo", you get all kinds of returns from the same time period.

Oh hell, that's a ballet right there!

No, that was Walrath, wasn't it? He only soloed on one tune, though.

Back here again: https://en.wikipedia.org/wiki/LP_record RCA Victor introduced an early version of a long-playing record for home use in September 1931. These "Program Transcription" discs, as Victor called them, played at 33 1⁄3 rpm and used a somewhat finer and more closely spaced groove than typical 78s. They were to be played with a special "Chromium Orange" chrome-plated steel needle. The 10-inch discs, mostly used for popular and light classical music, were normally pressed in shellac, but the 12-inch discs, mostly used for "serious" classical music, were normally pressed in Victor's new vinyl-based Victrolac compound, which provided a much quieter playing surface. They could hold up to 15 minutes per side. Beethoven's Fifth Symphony, performed by the Philadelphia Orchestra under Leopold Stokowski, was the first 12-inch recording issued. The New York Times wrote, "What we were not prepared for was the quality of reproduction...incomparably fuller."[4][5][6] Unfortunately for Victor, it was downhill from there. Many of the subsequent issues were not new recordings but simply dubs made from existing 78 rpm record sets. The dubs were audibly inferior to the original 78s. Two-speed turntables with the 33 1⁄3 rpm speed were included only on expensive high-end machines, which sold in small numbers, and people were not buying many records of any kind at the time. Record sales in the US had dropped from a high of 105.6 million records sold in 1921 to 5.5 million in 1933 because of competition from radio and the effects of the Great Depression.[7] Few if any new Program Transcriptions were recorded after 1933, and two-speed turntables soon disappeared from consumer products. Except for a few recordings of background music for funeral parlors, the last of the issued titles had been purged from the company's record catalog by the end of the decade. The failure of the new product left RCA Victor with a low opinion of the prospects for any sort of long-playing record, influencing product development decisions during the coming decade. Also of interest is the use of 33 1/3 speed for "industry" purposes, broadcast transcriptions and that Vitaphone stuff. RCA was really doing a lot in terms of recording technology, they must have been pissed when columbia beat them to the punch with the LP as a popular medium.