JSngry

It means that fishing is chillaxification set to water. I'd not argue against that.

Anybody feel better/safer now? I don't really. I'd feel better if he never died and stayed locked up in perpetuity, have his parole hearing every so often, so people could see him again and realize just how crazy that motherfucker was. We give crazy motherfuckers waaaaaaaayyyyyyy too much slack these days, and seeing Charlie trotted out to do his thing and then, yeah, NO way are you getting out you sick fuck psycho bastard, THAT gave me comfort, knowing that there were at least those boundaries. He wanted to start a race war, remember? Fuck him. Always.

No, it's not just them. You'll find that behavior in every status/stratus. Calling it out among the powerful/famous is just the tip of this iceberg.

Yes indeed! and there is so much dissonance in Oliver Nelson's writing, that introduction...like Lewis Taylor suggested about Art Tatum recently, just pick a chord and isolate it. It's probably over before it has a chance to fully register, which is why I've come to appreciate Oliver Nelson as a "stealth" kind of guy, especially the longer he went and the more deadlines he was up against. Sometimes he out and out misses, but usually he finds a way to get "it" in there. Now that the real BB&B is finally getting a proper reissue, it's time for 3 Shades Of Blue to follow suit. The BMG/Bluebird f-up did not cover the entire LP and/but instead included one looong cut from the album ON cut with Oily Rags. Yuck.

Don't miss these interviews! http://www.melmartin.com/html_pages/interviews.html

It's not hard, I'm just not in the mood to listen past the immediately obvious.

It came out (most of it anyway) as this: Misrepresented, mistitled, misshapen, misanthropic, missed point, wholly unacceptable even as fuckup. This is this: And this is this: Somebody get it right, and then it's done. But not until.

East was the private label of James Spaulding. It was founded in 1970. Uhuru Sasa / Give It Up was the only record released under the label. Ok, who knew? Who knows?

and of course, who doesn't have this one on file for suitable occasions:

This is one that's still not yet been gotten to, and why is that? Not a "great record" per se, but...Johnny Hodges & Oliver Nelson ain't making new records any more, and big bands don't ROAR any more either unless it's just to be vulgar or otherwise common (the denominator of which keeps getting lower and lower...).

First heard him with Monk and was not taken. Then with Jaws & Griff, light bulb! Snappy! Finger-Snappy! Also, he paired really well with Andrew Hill on Shades. RIP, and thnaks for hanging in there for sol long. Not everybody does.

We had a lengthy, riveting discussion about scapula in 2014!

Right? Dude, what happened?

Going from my tastes and from this list: http://www.cdjapan.co.jp/products?term.cat_id=UA-12&range.price=1000%2C1000&range.rel=2017%2F10%2F25%2C2017%2F10%2F25 the ones I would give the strongest recs to these: and any of the Gato Barbieri, they're all of the same overall ilk, maybe a little different in specifics, but I'd think you'd want at least one (if you want any). That makes 11 total, by a bunch for Christmas, listen to one a month, then come back next year and do it again!

Charles Lloyd Quartet at Jazz Workshop, 1972 a helluva lot more invigorating than the records of the time.

Who knew? I don't speak Italian.

Well hell!

The Moers list can go on, but for me, this was - and is - one of the most distinctive, "signature" record ever made by anybody, imo. And if you're like me, you gotta wonder whatever happened to Gerald Veasley, not as in where is he now, but, like, dude, what happened? Odean, otoh, keeps on, god bless Odean Pope.

I don't mind the Strata-East vinyls, because for better or worse, that's what those records sound like. Off hand, I can't think of any whose sound has been radically improved on CD. It's like a Philles 45 in that regard, you can get all the cleaned up refixes you want, but it won't sound "better", just "different". and like a Philles 45, a Strata-East LP of, say, Capra Black was not meant to be played on 21st Century digital hi-fi stereos. Like the Blue Notes and other such things, they were meant to be heard on basicass record players. Which is not to say that the source material was expertly record and then consumered down for the final product, I get no indication of that for hardly any Strata-East records. Seems like they will always sound like that because that's what they are. But I do think the LPs are as good as they're going to sound, so, you know hunker down in your apartment, stack your LPs on your changer, and meditate on that crazy Mtume sides (4, to be exact), not what it sounds like, but what it is saying. That's how to get your Strata-East on most fully, effectively, and appropriately, imo.

Just another "modern" piano trio album, this time produced for the Japanese market. I't not at all bad, it's just not what I'd want to hear from this group of people, more standards more often, yuck. People need to stop liking this type of shit unless it's truly awesome, which it very seldom is. This is basically whore jazz, doing it for the paying customer whether or not you really feel it. And I don't use "whore" because these are women, most of these type records are made by men, and they too are whores. Whores gotta eat, so it's not them I blame. It's the people who put the money in a place where you gotta be a whore to go get it. That's you, audience. I really like Francesca Tanksley and I can get into Cindy Blackman too, but this is, like, Anonymously Competent Chicks Playing Standards For Japanese Businesspeople, just not a healthy impetus, definitely not a healthy outcome. I mean, yeah, everything thing is "good", but is that the point? Maybe everybody involved figured, hey, it's Japan, what happens in Japan stays in Japan, but OOOOOPS, apparently not!! People, both Japanese and not, I beg of you, stop feeding this beast. This one is, like, 20+ years old, yet the beast is stronger than ever. It's because you feed it, so stop. Just stop.

#9 might be Lou Donaldson on one of his worser 70s records? Whoever it is on #11 wants there to be no doubt that he/she has heard dem blues. The tune sounds like a variant of "Sunny", which means nothing. Is it French? #12 reminds me of some Cedar Walton tune. Was #13 on Columbia? It almost sounds like that McCoy fusion album he did on Columbia, only this is not McCoy. I don't think it's Cedar Walton either.

https://www.discogs.com/Shirley-Scott-With-Oliver-Nelson-And-Joe-Newman-Blue-Seven/release/4887052 #7 is definitely a product of the RVG studio, so that narrows it down, right? Actually, it does sound familiar, and I do like it, but that narrows it down less that does the RVG thing. Is that Roy Haynes on drums? The bassist sounds like a sly poke at Mingus.

Does anything on Moers count as obscure?

WGN was never a small local station, so that leads me to think that these James things in color are from a more original source than the B&W things that have been released. That and the audio sounds a little more "immediate". As best I can tell, the DVDs are Japanese in origin. The VHS were all over the place in the early days of Blockbuster/Etvcc. But AFAIK have not been seen domestically since. LOik I said, I got my copies out of their cutout bin, a pivotal time when home video rental was finally driven my mass demand rather that a broader spectrum of availability. Here's another one in color. I gotta wonder what the source is that this guy has color and no commercial - or booted - issue does not. These WGN shows...details are sketchy these days as far as I can tell. The music is anything but!