JSngry

I think he's a great trumpeter, seriously. And obviously a very good businessman and bandleader. His bands always reflect his musical POV, which is to his credit. I just don't care for that musical POV. It seems kind of.....elaborately stunted. And I think I'd feel that way no matter his public pronouncements. When he first broke, the records were all, like, wait, something's coming, something bigger, better, more fully formed, and that something just never came. To me, he's kinda like a better funded, more sociologically loaded Bob Wilber. I like Bob Wilber well enough, but I can - and have - gone through all parts of life hearing a minimal amount of Bob Wilbur and feel plenty well-served.

Black Codes, yeah, I heard that in real time and dug it for a while. It kinda ran out of steam for me after a year or so. That was around the time I began to become disenchanted with Wynton in general. But I did enjoy it at first. A lot of my enthusiasm was that finally somebody was referencing Plugged Nickel Miles, which had seemed on the verge of falling into the limbo of the generally unknown. I had gone through the Japanese LPs and wanted more of that type of group playing. But then the Plugged Nickel box came out, and there was a lot more of that, and it sounded more organic than did Wynton's things. Combine that with his really ill-informed pronouncements, I just said, hey, Julius Hemphill's still making records, Henry Threadgill's still making records, LOTS of people still making records, I got the Plugged Nickel box now, what am I getting out of THIS guy NOW. And that question pretty much answered itself as time went on.

Indeed it does, but you can't force evolution on others, they have do it themselves. So, take care of your own business, teach the kids, and relax and let it happen, you know you want it, you'll like it! #geraldwigginspredatorypositivelpcover

#metoo is necessary, imo. Many men have acted badly towards women at least once in their life. I know I have. It's often a part of immaturity meeting unrealistic expectation based on fantasies fueled by generation of "men's entertainment" that plant the seed of "hey, it's worth a shot" and "nothing ventured, nothing gained". That's wrong, but in terms of evolution, hopefully one does not get too caught up in it and realizes that it's bullshit, it's unacceptable, and the people on the receiving end of it probably don't feel the "necessity" of such type exploration nearly as urgently as you do. But too many men don't grow up that way, and some actually feel that that sort of aggression is a part of who they are, that it makes them some kind of alpha male or some shit. Having the #metoo thing out and about should remove any doubt that predatory behavior of any level is not appreciated by most women. Seduction, sure, wonderful. Mind games, hard-wired into the species on all sides. But just getting naked without an invitation, or pulling out your dick expecting a Penthouse Forum letter to break out....no. And really - women do need to be loud on this for as long as it takes, because most men, if they're inclined to be a dog at all, will be as much of a dog as they feel they can get by with. And watch out for the man who thinks there's something wrong with women who have standards about what they will and will not tolerate. A man who is not willing to evolve won't evolve, and like the kids say, evolve or die. A dying animal is a dangerous animal.

Have you checked out Kinsmen, on Pi? http://www.pirecordings.com/album/pi28 I liked that one a BIG lot. So8unds like I might like this one too. Thanks for the heads-up!

Yeah, seldom engaging for me. That live album he did for Blue Note a few years ago was solid, though, actually quite engaging. But overall, that gumbo he's cookin', I ain't smellin' it. Sorry.

Apparently/Thankfully, that one is not as obscure as I thought it might be!

About Nilva, I find the catalogue to be pretty consistent, so if you like one, you'll probably like 'em all. It then becomes a matter of pacing, shopping, opportunity, taking whatever who is on the hook of each record. Record buying as it used to be - fun!

If you want to "deepen" your Atlantic collection for the next go-round, Nat Adderley's Sayin' Somethin' and Live at Memory Lane will definitely fill that bill, although Sayin' Somethin' is definitely better heard on LP, as the first side is pretty much diposable. The second side, though...tasty! And fine (not great, but fine) Joe Henderson on both. There's a third Atlantic, Autobiography, that I've never come across. It's a larger ensemble date of Nat's own songbook arranged and conducted by Joe Zawinul, from 1965. I could see that one going any number of ways.

Atlantic will yield treasures!

The Elvin Atlantics are inconsistent, especially And Then Again, but I have Midnight Walk on LP, and either side a couple of times in succession works really well for me every so often. And that one cut, H.M. on F.M., sheeeet, Hank AND Thad. Works for me! Also, "Dollar Brand" as a sideman on a "normal jazz record", how much of that is there, right? Well, you're asking good people, that's why it's fun. Try listening to a "jazz radio station" like KNTU and then see how much fun it is. Not much!

These really are The Last Days if Hank's on the Endangered List.

Spindletop was an Austin label, looks like they had distribution by Rounder, probably for the other items in their catalogue. I never knew this one existed until long after its fact. https://www.discogs.com/label/85898-Spindletop-Records This particular album was recorded in Dallas, a fact that escaped be until just now!

You can go to the Joe Morris Atlantic sides, whether you actually have then on Atlantic or not. Griff! oh hell, go to the 2-fer, even if it is on Collectables! Dan, if this is not in your collection, I think you will want it to be,

And the sticking point with Feather for me is that you just can't ever be sure. He was an early-ish proponent of bebop, but as he always seemed to like to do, he also like to provoke some kind of "versus" conversation or attitude. He did it again with the whole "anti-jazz" thing, the guy was always looking for a controversy to stir up or further stir up that he could then referee. Seemed like he was an Authority On Being An Authority. I will give him that. I just don't like the guy's energy, even when his facts are correct. And another bone I have with him, in the Seventies "encylopedia", there was a very rich thing going on in Watts and other African-American pockets of LA. Feather wrote extensively about "West Coast Jazz" guys of the old school who were still active, as well as the East Coasters who moved west and with whom he was already connected, but very little, if in fact any at all, about Horace Tapscott, Sonny Criss, Billy Higgins, Harold Land, or any of the newer voices emerging around their world. Which is all fine, I mean write about what you want to write about, and those people certainly deserved coverage, but any book that purports to be an "encyclopedia" should at least attempt to be comprehensive in scope, not myopic. And it's with those eyes, the ones I read with in real time, that I then went back and looked at the older work, and, yes, I definitely saw those tendencies there as well. So, yeah, I no longer neither enjoy nor seek out Leonard Feather. For anything.

Going in a different direction, Donal Fox "should be heard" and certainly appears to be obscure. and for "classical" music, this guy, and this record, for his work:

I trusted Feather to "be there", but I never trusted him to not somehow make it about himslef, like "there" was Leonard Feather, not the music. Leonard Feather got to where he decided what music came to him, not what music he went to. Not about taste, it was about ego and who would flatter him with their access. And then he wrote liner notes and "encyclopedias" accordingly. Best as I can tell, he started out ok enough. But it seemed to have gotten worse as time went on, too. Like they kept feeding the animal and the animal finally turned into a beast. And the longer he lived in California, really, the worse - and more blatantly obvious - it became. I remember one guy, Milcho Leviev, oh my god, Feather was pimping this guy HARD, like he was the Ginormous Future Of International jazz, really, it was that big a pimp, and, ok, yes, Leviev was a talent for sure, but Feather just blew him and his "importance" waaaaaay out of proportion. And for what? Just becuase Leviev would accept Feather's overture to be grant access.

Atlantic will yield up treasures. Atlantic will yield up treasures.

Between Fathead and the rest of the Ray Charles nexus, Mose Allison, Milt Jackson, John Coltrane, and some other odds and ends (jazz and R&B, including T-Bone Walker), pretty sure you'll have a days worth.

For people who may not be familiar with the derivation of the name: https://en.wikipedia.org/wiki/Spindletop https://www.priweb.org/ed/pgws/history/spindletop/spindletop.html

The AFL was like everything else - you're a rebel until you get in the club, and then you're in the club.Hey. Make your money and enjoy the club.

Oh, Ellis Marsalis, almost forgot about this one. Duets, unfiltered.

Oh, it wasn't just Al Davis. The whole bunch, players and owners, was maverick out the ass. That curran book is all about that. I remember watching AFL starting in, like, 1965 or 1966. I was an Oilers fan because the Cowboys pissed me off back then (and even now) but also, yeah, the AFL was just more fun for me as a Beatles fan . They openly embraced the whole long hair/rebel/youth thing up front. And the play was, generally speaking, looser and freer as well. Maybe that's nostalgia talking, but I was an AFL guy all the way, as music as a kid could be. And besides - Lance Alworth. One of the most graceful athletes I've ever seen, regardless of sport.

yeah, it was a "scandal" when it was just about one guy (or a series of "one guys"). But the #metoo started up and that got noticed for like, one news cycle. It's always easier to go after "one guy" than it is a culture in general. People like to have faces that they don't really know better than ones they do.