JSngry

Thad Jones, George Adams, George Lewis, Stanley Cowell, Reggie Workman, Lennie White, Michael Cuscuna...and Heiner Stadler getting them all on board with a concept that none of them chould have played on their own. And let us not forget this one, perhaps DeeDee Bridgwater's finest moment, all things considered.

Yeah, that's a marketing campaign that she should take and run with - "Grave Kelley, Thank God She's Not Beer!". I missed my calling, I tell you. But instead, I've been called as a moderator, so let's get back to "Any thoughts on Grace Keeley?" or I will clean up this thread like the Busch Bavarian mountain having a meltdown avalanche. BOOOOOOOOOSSSSHHHHHHHHhhhhhhhhhhhh...

All this because some people think she's totally skilled but also/equally totally boring as an improviser? The world is full of those type and they seem to be growing in number. Thank god she's not beer!

Still dead, though, right?

I do have that (and only that, for this material, it's good enough for me), but am at work now, cannot check. My memory is that is just a repackaging of the existing BN LPs, but don't take my memory to the bank, don't even get in like for the ATM with it. I see that the labels on Discogs say "Mono" though...if so, then that's the way to go, but iirc, they sessions are not grouped together, if that kind of thing matters to you. otoh, hey, it's a record, listen to it!

Oh, don't get me started on the listening/listening critically/criticizing dichotomies. Emotional response is one thing, but "opinions" without ability to speak to particulars (and not necessarily in terms of "technicalities" are like buying a cap of your favorite team - thanks for spending your money, but don't wait for that to have an impact - any impact - on the team's actual performance.

He had a very unique vision, and he seemed to get the players he hired onboard with it. I very much appreciate both him and them for that. RIP, and the fullest props extended.

I do not know what "cis" means. Seriously.

Principle should be used to earn interest.

Hopefully that's what living long enough is good for.

That Anthony Ortega guy too, I like him.

I like that Otto Harwick guy. Sure, he's not alive, but what does that say about us as a people?

Well, so far it's only happening here on the O-Board, but you know, tell a lie long enough and it becomes the truth... And really, that's a set that should happen. Seriously.

I like that Ernie Henry guy. The sound of surprise.

You know, I'm looking at the Turrentine, and it's only 80 bucks. Didn't realize there were previously unissued materials involved, not many, but a few. That might be a deal maker for me. Besides, this will put us all one step closer to that Bill Barron set that Cuscuna's surely gonna come out of semi-retirement to drive home to the finish line, one last triumph for unambiguously post-swing Mosaic sets, you go Michael Cuscuna, you GO!

If there's a 27 minute cut (and it certainly seems that there is!), I'll take it on CD. But the lineups and dates are appealing to me, very. Claude Bartee's pitch is one of the more quirky things in the history of tenor, and I mean that in a non-negative way!

I think it's best in the pursuit of getting to the point where inconsistencies in others are no longer viewed as conflicts within yourself. Because people you love be stooped crazy sometimes. And you ain't ever gonna change that. I don't know that evaluation is in and of itself that great of an end, it's more like means to an end, so...once started, don't stop there, that's all I'm saying. Call it the Dave Gardner Paradox.

Comfort zones...sometimes I hear things that make me uncomfortable with how comfortable they feel. Checking out "country gospel" or whatever it's called from the 50s-early 70s was a fairly recent case. Uncomfortable, because I knew all too well what was "in the air" about that music and those people. Yet, comfortable because I did know about that music and those people, they were in my "air", because life puts you where you are, right? Same thing with The Beach Boys 40 or so years ago, you know, it's 1976, I'm all about jazz militancy, what the fuck do I need with this uber-White Surf Music? But hell, it was on the radio when once again, life had put me where I was. Dislike is easy. Objectively evaluating is less easy, but still not really that admirable. What's really hard is disliking, then objectively understanding the music, and then seeing what the music means in reference to from whence it comes, and then experiencing it as a specific form of basic humanity. The whole "mixed feelings" thing is about as honest as you can get, imo, because I've no doubt that somebody like, say, Jake Hess might have had a certain engagement with all sorts of socio-political things that are anathema to me, but otoh, that man could sing, and sing with the soul of his unique circumstances. I can accept both of those things, comfort zones be damned. People are flawed, all people, to one degree or another. It's no longer my desire to either excuse that or hate on it, it's my job to find all of the truth there, and there seems to always be come conflicting truths in people. There's something between somebody being either all friend or all enemy, you know? In fact, I think I'd rather have few friends, and just as few enemies, I can live with that.

It is The Meters, plus horns, plus Eldridge Holmes, but I've yet to hear an en explanation of who put those two WTF? horn breaks in there, or why.

Some things from the Dawn catalog, I see. Start of a trend, maybe?

RIP.

yeah, if you don't already have t, now's the time. It's good stuff.

Good but not great, and one of those things that stands better for so being. Harold Land & Ira Sullivan both make some pretty arresting contributions along the way. As for Red, his solo chops were still recovering, but his comp, his chords, his voicings...rich. He's in there all the way.