JSngry

Got it back then on this: https://www.discogs.com/Wynton-Kelly-Keep-It-Moving/release/2645749

Would I be confusing that one with the Bunky Green/Steve Coleman album or is there no such thing? Whatever it is I've heard, somebody with Bunky Green playing "forward"-ish music, I like it.

I am...

Genius validates itself. The only problem with the "useful and enjoyable" thing is time. Yes, all "genius" reveals its usefulness and does bring enjoyment, but not necessarily right away. People in all disciplines can tell you about people whose work had to be "rediscovered" either later in or after their life. Even Bach, not always regarded as the genius he is today. Look at Monk - let's play a game where he dies in, say, 1954, before Riverside, before his legal issues got cleared up, before anything that made him any thing other than an obscure cult figure with a handful of indie label recordings, both man and music viewed as eccentric, difficult, perhaps obtuse, perhaps even mentally ill. What happens then? What would the process look like that brings this music to fuller fruition and visibility. How much longer, if ever, does it become as "useful" and/or "enjoyable" as it is now? Would it ever? Was there no genius evident in the Blue Note and Prestige recordings? I think you'd have to be wrong to think that. So what would you have if that had been all there was? Genius waiting to be discovered? Just some weird guy playing weird music? Some fetishized cult figure? Sure, one could state that the genius was not "proven" until it became "useful" and "enjoyable", but imo, the genius was already there, it didn't need to be proven, it simply needed to be found. Which is why I think that time is the ultimate judge. Not do the "creators get paid" (which, really?), but do the creations reveal their truth over time. And "time" is only sometimes "in their lifetime". But - if we think with certainty that our geniuses of "today" will remain as geniuses forever more, think again. Ours is not in any way an oral tradition, we are very much based in documentation. If/when the documentation gets corrupted/lost/stolen/destroyed/whatever, the a few generations go by and a new narrative springs forth. It happens, always, some way.

Wonder whatever happened to Sue Staub?

Was she a natural redhead, too, this sister of Rusty named Sue?

Do you have the Ellington Small Group Mosaic? Or this one in some form or fashion? And if you have the Charlie Christian/Goodman stuff, there that is. I've found myself listening to Christian at the expense of the group, and that's fair to Christian, but not to the groups. While I'm piling on, any collection of the Basie small groups, be they with Prez or Byas is always a good listen...or if you wnat to stick to impulse!, this one is good enough, although not the same as: When I think of "Small Group Swing", my reflex is for groups of more than one horn and some kind of arrangements. Mileages will vary widely on that one, no doubt! John Kirby was a blast, though. Just sayin'...

The AL West was also imbalanced in terms of time zones. That was mentioned as well during all the chattr. Travl, TV times, etc. Plus, more Rangers/Astros games, "regional rivalry". Although this year, HAHAHAHA! Astros took the Silver Boot and are kicking everybody's ass with it. good to see that, looking forward to the Rangers return to competitiveness at some point. Until then, though, I do have some Astolove inside me still/.

You could make a day on impulse!

My hope is that the Astros win the series 4-3, with two Dodgers wins going to Yu Darvish.

Got any John Kirby?

Found a mention of Kenny Gill here. It took some digging to get even this! http://daverochajazz.com/daverochajazzgroup.php

Last night, DSO: PABLO HERAS-CASADO conducts JEAN-YVES THIBAUDET piano DEBUSSY La Mer RAVEL Piano Concerto for the Left Hand DEBUSSY Gigues & Rondes de Printemps, from Images RAVEL Daphnis et Chloé, Suite No. 2 The Ravel concerto was a real discovery for me. I found it odd that Heras-Casado gave both Debussy items a very transparent,almost flat-lined reading, whereas Ravel was allowed to bite in an almost violent manner. I prefered the range given Ravel, but it goes against the grain of how I usually hear his music performed, and same with Debussy, usually it's played with "shimmer" on top, here it was in the background. An interesting choice on both fronts, but not choices that showed an immediately apparent justification. Hmmmmm.... On the non-musical side of things, Jean-Yves Thibaudet was a most marvellous pianist, but is one of the most poorly dressed performers in any idiom I've ever seen. A suit coat several sizes too small (and at least a decade too old), slacks that seem to have just shown up on his body when he wasn't looking, and suede loafers with gaudy diamond (or rhinestone) covered saddles. Cat played his ass of, though, so it's all good.

That' the story as I understand as well.

You tell me what you think the fake story is and maybe I can help you? Are the Astros now the first to win a pennant in both leagues? Have not been watching much of all this, are we getting the Harvey Pity narrative for the Astros the way we got the 9/11 Pity in 2001? I sure hope not!

More than happy to do so. Here's one that missed the list because I couldn't find it on the shelf and couldn't remember the details: I really like listening to "vintage" classical recordings, especially of then-(relatively)new music that had yet to be disseminated through recordings. I like to feel the newness, the lack of the benefit of hindsight when making the decisions. Especially with singers, because ?I don't care who/what it is, a singer's decisions are always very much "of the moment", I mean, Sinatra singing those songs when they were new(ish) and singing the same songs 30 years later cannot be the same, all but impossible. Same with things like this, imo. That Walkure, pre (barely) WWII, people felt ok with bringing a certain...bravado to Wagner that was pretty much impossible post-WWII. Same thing with Mahler, art songs about dead children, people our age grew up with "dead baby jokes" and stuff like that, but, I don't care how decadent 1928 Berlin was getting, anguished songs about dead children were not all the rage, and I'm sure that bringing all that to a concert singer at that time, just caried a different...weight to it that it would later. So yeah, this is a really good listen: Perhaps of interest to you is this session: [04] Kindertotenlieder: I. Nun will die Sonn’ so hell aufgeh’n [05] II. Nun seh’ ich wohl [06] III. Wenn dein Mutterlein [07] IV. Oft denk’ ich, sie sind nur ausgegangen [08] V. In diesem Wetter Heinrich Rehkemper with Kapelle des Staats-Oper Berlin – Jascha Horenstein 1928 and along those lines, this:https://www.allmusic.com/album/release/igor-stravinsky-the-rite-of-spring-the-firebird-mr0002155980 192-28, conducted by the composer. Between these and the pianola version, no "informed" exploration of Rite is incomplete, imo.

Well, the money/gig landscape changed forever, that part of it did. So...maybe he really IS a genius!!!!!!!!!!!!!!!!!!!!!!!!!!!

After all, he's a doctor!

Here's 10 I enjoy, but still being a novice, take that for what it's worth. Still very much in an exploratory/learning thing with this continuum, and there's more than 10, but these meet the criteria ofbeing both on the "works as recreational/car listening as well as other types of listening" test and being on a shelf where I can readily get to them to make this list. I can also tell you that, having gotten into this world from where I had gotten to in jazz, I'm far less interested in "repertoire" than I am "story", both known through history and sensed in performance. and anything else with Olly Wilson's music on it. if you're one to go for extreme intricacies that eventually reveal themselves to be exquisite logicalities, then this is a feast! it's never nice to say "hey, if you don't like this, you're an idiot", but with this....yeah, go ahead and say it. Radio broadcast of a Hitler birthday concert, with Der Fuher himself in the audience, replete with announcer before and after...to call this an intense performance of an already intense piece is an understatement...there's a little bit of footage up of the last minutes of the last movement from this gig, and to call Furtwangler "eccentric" is an understatement, as is saying that he looks more than a little uncomfortable when Hitler insists on shaking his hand afterwards. People who believe that history repeats itself coud find more wateful uses of their time than to listen to this, look at the footage, and ponder what happens when one chooses to "stay" even though they don't like what they're staying in, and also what happens to them after it's over. oh HELL yeah. have yet to here them done more satisfyingly. seems to be totally "in the moment" both chronologically and in performance. Also, originally issued on Dial! I don't know if this is good or not, I just know it's fun to listen to. actually have a history with this one. Pete Gallio hipped me to it during the Quartet Out days, long story short, he made the point that Bartok's math and later Coltrane's math were very much overlapping at times, and that this was as good a place as any to check it out. It was good advice. all the viswceral excitement and power of a rock concert with none of the rock. Win-Win! Bonus cut - It's not nice! There's more than these, a lot more, although not a bajillion more. Yet.

useful and enjoyable, so much genius, hands no needed!

whoa....had forgotten all about that one...got a 4 or 5 star review in DB, don't know that I've ever seen it, know that I've never heard it.

GOOD GENIUS!!!