JSngry

Indeed. Genius tune, too!

But seriously, anybody heard this one? Not sure I want to hear Runnicles do Tristan, but also not sure that I don't... How's the ordering/servicing from this place...seeing several things of interest, to put it mildly, with much better prices than Amazon Prime.

Dave Friesen playing bebop does not make me bounce. That pocket...by the time the tune was over, it was more than a heart that skipped a beat. I could hear Philly getting restles...Art Farmer sounded great, though! The Bert cut...god bless Eddie Bert, but it's just another take on "Love Me Or Leave Me", and kind a flatlined one at that. I like Jordan's comp, a lot, but his soloing...it just doesn't bounce to me. I can hear where he's bouncing, but it's like...it bounces more to him than it does to me, I guess. Did he have arthritis in his right hand or something? I get the "hard" attack, but...thump/plod/whatever, the feel just doesn't grab me. Maybe it's that modern recoring style, seems like he could use the air around his notes that the older recording style gave him. Here's some Bert that bounces: I think people in general bounced more back then, people weren't so damned obsessed with low body fat or something.

same

Sha-Na-Nah completists, heads up!

Actually, I was not, but I had heard this and that name struck me as being really...odd. Ersel. Hickey. Not a name found in most phonebooks, if you know what i mean. I don't really like their version, or once I heard it, his, but no matter. Ersel. Hickey. Standalone attraction, the name is. Would it be "UR-sell" or "ur-SELL"?

Actually, I think it is...the opener, "This Masquerade"...wrong band for that tune, iirc, Ted Dunbar...not needed on a George Benson cover, and neitehr was anybody elswe. My memory is of a very loose (and not in a good way) "jam" that was indeed thuddy...do you want some doobie in your funk? Or some Frank Butler? And dolo Coker, hmmm...sometimes yes, sometimes no. As for Duke Jordan...people keep saying that he got better as he got older, but i swear, every time i hear him from the 70s on, he just sounds like he's getting older, tireder, and less imaginative. I'll replace "thuddy" with "borderline plodding" if it makes anybody feel better. No question about his historical importance, but past that, like with later Bill Evans, I keep trying to find what "everybody else" is hearing, but i now think that whatever it is, it's vibrating at a frequency my brain just noes not receive.

Ok, there are no live Xanadu albums by Sam Most, so I don't know what I'm remembering...it might have been Mostly Flute? I remember a lot of thuddy phrasing going on, and a Most/Duke Jordan combination would fit that bill...or it might have been that one with the arty cover, I honestly don't know...I just remember being pissed of at whatever it was. I do remember it on the ipod and listening while walking, any idea which one that might have been? It was pretty hot, that much I remember, I needed some incentivizing music and whatever it was, i was not feeling incentivized. Wrong record for the situation perhaps.

Atlantic offered some titles that might make for interesting listening in quad, might. Quad in your car, logical enough.

Well hell, I thought it was going to be stuff from the Dot & Time labels.

Not sure if I have an original or not... Ginormous MF, big red cover, not a hardback, think it maybe went up to Sex Pistols, maybe? Anyway, picture of Ersel Hickey opposite the title page, 'nuff said.

The only one of those I've hear was a live one that seemed to be unfortunate, at times irritatingly so, on all counts. Are the others any different?

Yeah, I like that one. Not sure if it's been revised/updated, and don't care. Fine as originally released, great photos, good (enough) text.

no doubt!

I think he might. More immediately germane to this forum, perhaps, is the difference between playing "pop" and "jazz"...Dave Liebman, and more famously, Branford Marsailis, have commented on that you can't just do one, flip a switch, and then go right back to the other. They're ultimately separate mindsets, un;less you just want to play the same thing no matter the setting. There are basic musical skills and esthetics that will apply across the board for most all musics. But then there are distinct, necessary, differences. You don't marvel at Pet Sounds for the exact reasons you marvel at Interstellar Space for the exact same reasons you marvel at Noonah. The notion of "it's all music" is true, but only if you know that "music" can get to be a lot of different things. The macro and the micro will validate/enforce each other, but one by itself is just poor math/lazy thinking.

It's on the way, thanks!

Speaking of the record in question...I'm confused about performances cut in half and all that...what is the exact CD I'll want to buy to get the gig in fullest form?

I'll need to hear the record in question, but generally speaking, the real out/free Bird comes from his rhythmic whimsy. I've never heard anything harmonically that I couldn't reverse-engineer logically, but the rhythms, especially the internal rhythms, that's where the, to me inexplicable genius shows up.

This? I don't hear the harmony being particularly stretched, but the internal rhythms, the stop/stars of each line, that's pretty much Bird at his most free.He'd create these internal micro cadences and that started and stopped wherever they wanted to, and then they'd dd up to a macro line. The Massey Hall shit is like that too, I transcribed Bird on "Perdido" and got the notes right, but the rhythms, the internal time, whoaaaaa,,,,,

"Slow Boat To China" has great changes for "bop" playing, they flow logically and are not extremely/overly cyclical...what's the form, ABAC? Sonny Rollins played the hell out of it early on.

Lots of people are not Mozart, and I'm not complaining.

Two words - Bruno Carr!!!! Something like this...I have queasiness about the arrangement, but then you get a really nice early Chick Corea solo...and check out his comp behind Dave Pike's solo. I've kept this record just for this cut. Never mind him as a player, you can pretty much take that wherever you want (either way), but let's look at him not jsut as bandleader, but also as businessman - three labels that I can think of right away - Vertigo, Embryo, and Kokopelli, all of which had notable releases, many of which had nothing to do with the Herbie Mann "styles", but everything to do with the Herbie Mann orb. I you were in with Mann, you got opportunities to speak your own thing. Not all bandleaders are that generous. Maybe they were or weren't tax-shelters, I have no idea, but point just being, I'm sure he got rich, but it sure looked like he shared the wealth. Not all do! Also consider that when guys like Cannonball, Mann, Les McCann, etc. were catching hell for being "commerical" (and sometimes rightly so, I mean the HErbie Mann Disoc period is, uh...dire), still, their presentation was just that - a presentation, something to present to people who came to hear them. The size of the audience that overlapped their thing and less market driven jazz might have been comparatively small, but there was a continuum of availability. If you dug Herbie Mann, you could go deeper into the music, or you could not, depending on what you wanted. It wasn't this hard, maybe even impossible, break between Kenny G and Ornette like it is now, you could just be there and get whomped upside the head by Sonny Sharrock or some shit. Or be in the underground, come to check out Sonny Sharrock, and then, oh, Fathead! I only buy Herbie Mann records for the band, but again, he had some damn good bands. WHOMP!

Great bandleader, for sure.

Guess a sure sign of aging is when pop stars dies and you don't know either them or their band...still, RIP, and she was young-ish still, always a sad thing.

fixed.