JSngry

And the majority of new and interesting classical composers I've heard over the last years have been women.

Not just in jazz.

There are other certain/select Nelson (or Nelson-involved) albums that either mostly or partially have that "liberated" feel, but this is the most complete realization, imo. From start to finish. But keep in mind, the nature of Oliver Nelson is to provide a "mainstream" setting with all the tension (sometimes considerable) underneath/inside. It's interesting to read these liner notes, listen to this music, and then listen to James Brown's Soul On Top, done around the same time, and wonder how Nelson's writing (which is mostly above his normal "commercial" standard) was moved by Brown's then-overt calls for Black Pride and Black Financial Independence. Either way, Black, Brown and Beautiful is, for me, the apex of Oliver Nelson's writing. Liberated, uncompromised, whatever you want to call it, this is it.

That's a question worth asking!

Neither American or French Amazon prices have changed.

yeah, this, all of it.

I'd never listened to this, didn't see the purpose and/or need, but bought a used copy cheap after Bob died, just because. Still didn't listen to it until today, and it's actually kinda fun. The more popular the song, the more the expectations of "Carole King fans" are met, but for the less-familiar songs, all bets are off except that you can bet that Bob would not be bashful about referencing all the "electric jazz" of the 70s, Example - "Will You Still Love Me Tomorrow" sounds like a stealth mélange of Gary McFarland and "It's About That Time" with Stephon Harris going full-on Bobby Hutcherson before bringing it back in., but "Way Over Yonder" gets totally "Big Fun"-ish. It's Bob working the system, musical commentary under the guise of product. Not going to be for everybody, but I'm lauging/smiling my way through the whole thing. Hi. Bob!

Mixed.And bubble lights! We like color, contrast and motion to play off the fixed ornaments. Frocked trees were big during my youth, you could even buy a vacuum cleaner attachment to spray them, but I can't recall the last time I've seen one.

https://www.axios.com/americas-favorite-christmas-movies-2519380482.html?utm_medium=linkshare&utm_campaign=organic

Merry Christmas!

If you can split the shipping, PM sent on Red Richards. Already have the Silver. If you can't split, no worries.

The new Japanese reissue sounds great and looks great, but although they include the front and back covers of the gatefold original, nowhere do they provide Nelson's liner notes, his direct commentary on his own music. I believe the album is incomplete without these notes, and am posting them here. I know that an image of the inside cover is available online, but...this is something I feel I need to do, just because.

Both of those videos were Provided to YouTube by Sony Music Entertainment So, you know, every tub...these guys/girls/databases/etc don't have a clue what they got.

Cool! I'm going to do it anyway...old-school old fart that I am getting to be...

Honestly, it's my favorite Nelson record, period (including Blues And The Abstract Truth). I do think it's his crowning achievement (and from a time when he was more or less seen as a "commodity"). Not just for the music, but for the combination of music and direct composer's commentary. Any one quote could be seen as "between the lines", but the totality is pretty much unambiguous.

Yeah, I've kind of taken Dinah for granted, she got played on local jazz radio so much for so long, I never felt the absence. That has changed over the last how many ever years, and I find myself wanting to go there but not having enough to fully scratch the itch.

So this vs this, right? Neat find!

Well, still not proper. The sound is better, but the original Nelson-penned liner notes are absent. This is just wrong, those notes speak volumes about the music and the deep sociology of Oliver Nelson. It's so critical to fully grasping what the music is dealing with...at best, I've seen this album referred to as a tribute to Martin Luther King, and that is, but that's just the tip of the iceberg. I am going to transcribe those liner notes and post them on the board, hopefully tonight. But this...underestimation about the seriousness of Oliver Nelson has to stop. This narrative of "serious jazz guy selling out to Hollywood and then killing himself by doing all that work just for the money" is just not right, there's more to the story and for whatever reason, it keeps not being added to the narrative. Unacceptable.

I'm wondering where the singles from these Quincy sessions are, or even were in the first place? Were they all singles? I mean, that's a helluva lot of singles! Did they remain singles, or were some of them not really "singles" but just cuts of of other albums not wholly led by Quincy? Shit should not be this complicated. Hell, it's not complicated. it's just managed poorly from the perspective of objective data management. Those OG Complete sets, if I buy anything, it will be those.

What is the edited-out 1:10?