JSngry

He's some actor, that's all I know. Apparently a popular one.

James Horner, per IMDB: http://www.imdb.com/title/tt0112573/fullcredits?ref_=tt_cl_sm#cast maybe he got some orchestration credits or something? I don't know. Ah, further down the expanded page: Ian Underwood ... instrumental soloist: synth programming, London Symphony Orchestra. Yeah, Ian should be doing ok, barring anything bad: http://www.imdb.com/name/nm0881005/?ref_=ttfc_fc_cr343

I just mean that money is power, and that power concedes nothing without a struggle. That struggle can take the form of negotiating for better pay as a band or as a sideman, better contract terms, better personal management, better personal discipline, better acceptance of the moral ambiguity that comes with reaping the fuller monetary rewards of capitalism...very few people have money to begin with, even fewer get it without some kind of work/struggle, and even fewer people get to hold on to it with the passage of time, because the cliché that you have to spend money to make money, is just....fraught with all kinds of peril! As for Zappa, he always had good representation, and if the early Mothers lost money, I don't know how much of his money he actually lost. Some, I'm sure, maybe a lot, but otoh, credit, backers, investors, etc. Part of the game. For a nearly-eternal sideman like Don Preston, it's not unlike being a replaceable Cubicle Cog. You are valued while you are there, but you can always be replaced, especially if and when the company "pivots", so your "value" is never going to be what you think it should be.. How much money he made on all these gigs, I don't know. Some paid more than others, no doubt. The fact that Don Preston is 85, still working, and still (barely) able to pay rent is a testament to his personal tenacity. The fact that him and his wife were almost able to buy a house tells me that he knew and still knows what the deal about this is. The fact that it didn't happen is sad, and not all chances like that for people like this come around regularly. Owning property is a real source of at least some power, and it is not power that ahs always been anywhere near commonly available. So...what it means is that for every p[person, there's a story. Ian Underwood went into studio work, and as far as I can tell, is not scuffling like Don Preston. But Don Preston worked with John Carter for years, so high reward, low return, something like that. Jimmy Carl Balck ended up like Jimmy Carl Black because...well, because he was Jimmy Carl Black. All I know for sure is that there's no such thing as "lost money" except in the abstract (and that is where the real game gets played...you only have "real money" once you cash some of it out...until then you have credit and leverage, and all that, the ability to move that abstract money around in a transactional manner...but then again, that's "real" too, so...whatever). Point just being, if a bandleader gets ripped off, if a sideman gets underpaid, hell, if a promoted books a hall and doesn't recoup, somebody gets that money that those parties didn't get. That's why contracts are signed, retainers paid, deposits required, unions formed, etc. out of recognition that there will be money, and this is how it will be distributed. And STILL people get screwed! Now, L.A. real estate, that's another story, and no, I don't know too much about that, other than California in general, before the "Great Recession" (and boy, it was great, wasn't it!!!!), people would sell, like, 1000 Sq.Ft crackerboxes for "millions", come out here and buy suburban mansions, and then fret because the upkeep was so high. DUH! The lack of affordable housing for seniors and the working poor is not political, and it's not financial - it's moral. It's a consequence of what we as a society find morally acceptable. I we agree that it's morally acceptable to conduct consensual real-estate transactions between capable parties, but not to ensure that contributing member of society have sensible housing at their disposal, those are two collective and distinctive moral choices, and I for one do not see the conflict between the two.

Sometimes people are stupid, sometimes they're just naive, sometimes they really do get stabbed in the back, but always - always - somebody ends up with that money. Money is a game - a serious game, but a game nonetheless - and very few people know the rules soon enough to have a really solid game. Say what you want to about Miles and all of his career choices, he knew the rules of the money game. His estate, say what you will about their choices, but they do not seem to be losing at the money game. This is important. Kinda shocked that Don Preston is 85, though. Not because he shouldn't be, but just because...it doesn't seem 48 years since 1969, when I first heard the Mothers Of Invention. That's damn near half a century. But an 85 year old person who continues to contribute to society should not have to worry about having a place to live. That's just wrong. Fame and fortune, that's some more games, but the basic security and peace of mind that comes from knowing you have a place to live in a world in which you still contribute...basic human decency, imo.

Still, both MJQ & Lester. Long game, trust me.

it should, yes. In fact, let me help you by so doing.

Having looked at her for a while now, she looks even more familiar.

Yeah, if you're looking for direct-miked bass of the caliber of CTI, Mainstream is not gonna be where you look. But...we adjust.

Welcome back, friends! I'm sure there might be faults to be found, but I'll not be the one to find them. For me, these albums are simple, basic, joyful truth.

Well, ok. everybody says that this is from a Phontastic release of Goodman alternate takes, so i bought that which is supposed to have it, and it does not, it does not have this incomplete take which to me sounds like a run-through rather than an actual take because of the way all the mikes open up after things get going. So...is this available commercially anywhere? (note: Commercially", not necessarily "legitimately") No matter, DAMN, listen to that chart (dig the modulation and how the riff sets a pattern that is logically completed by the first notes of the vocal, only Sauter's been setting up that riff in all kinds of ways almost from the very beginning, THIS IS WRITING!!!!), that band, and HELEN FORREST!!! There's a live take from months later, and jesus, it's all fucked up, too fast for anybody's good. But this, this is about as good as this type of thing gets, even if it is incomplete. 3:05 here, too damn fast. Clean, but wrong. Still, helluva band.

Refresh my memory, please, but did Johnny Keating end up like Ted Heath and making a lot of MOR records of minimal "jazz interest"? Not that there's anything wrong with that, people need to eat. and of course, I could be wrong?

...but the independent record business was in its final death spiral and he got burned for a good deal of money. He folded the label and turned distribution over to Roulette. I smell Morris Levy on all sides of that!

Do they sound better if you play them off of Monk's lead sheets? OTOH, I've seen so many jacked-up fake book renditions... But that Hal Leonard thing, the one's I've tried, they seem to get them right. But on the whole, the once-ongoing narrative of how Monk's tunes were "hard to play" is at least as much a function of the inability of people of the time to think like Monk to go after the "sounds" instead looking for the "chords"...you see all kinds of assumptions based on standard practice of the time projected onto root movements, and even when they get that part right (which is only a sometimes thing), they're still not right, because if you play them like you would other fake book sheets of "normal" songs, they just sound...wrong. Just saying, the shit IS hard it becomes a different type of hard once you get to the actual notes, not the assumptions.

Glen Rich and the Fowler Playboys Kip Kippenbrock John Bass

Both.

Sorry that she's passed, but very heartened that she left such a legacy. Obviously she was loved. WIN!

That was the first guy I heard who really made a slide seem necessary and who also hadn't been dead forever. RIP

Usually, when I wanted to, which wasn't always! Computerized inventory has led to more efficient production/distribution, which means less overstock, which means less cutouts. One more way in which "efficiency" is both a blessing and a curse.

Whiskers Sharpie Dulles

12:30 PM Central time: https://en.wikipedia.org/wiki/Assassination_of_John_F._Kennedy per https://en.wikipedia.org/wiki/As_the_World_Turns On November 22, 1963, the live CBS broadcast of As The World Turns began as always at 1:30 EST. In this episode, the Hughes family was discussing plans for Thanksgiving. Ten minutes later, a "CBS News Bulletin" slide suddenly came up on the screen and Walter Cronkite gave the first report of the assassination.[17] “ Here is a bulletin from CBS News: in Dallas, Texas, three shots were fired at President Kennedy's motorcade in downtown Dallas. The first reports say that President Kennedy has been seriously wounded by this shooting. More details just arrived. These details about the same as previously: President Kennedy shot today just as his motorcade left downtown Dallas. Mrs. Kennedy jumped up and grabbed Mr. Kennedy, she called, 'Oh no!'. The motorcade sped on. United Press says that the wounds for President Kennedy perhaps could be fatal. Repeating, a bulletin from CBS News: President Kennedy has been shot by a 'would-be assassin' in Dallas, Texas. Stay tuned to CBS News for further details.[17] ” At the end of this bulletin, CBS rejoined As The World Turns, which was still in progress. The cast, performing the episode live, was not yet aware of the rapidly developing situation.[17] As NBC and ABC, the other two major U.S. TV networks, were not programming at the time (the 1:30–2:00 ET period belonging to their local affiliates), As The World Turns has the distinction of being the last regular U.S. network program broadcast for the next four days as the assassination and funeral of JFK and the transition of power to President Lyndon B. Johnson took center stage.[18]

Disc 3 of Trilogy is essentially a Gordon Jenkins album. As such, it makes perfect sense. Doesn't make it any better, but at least it makes sense. Duets - go to Your Friend The Internet and see if the raw takes for Duets (called Duets Solo, or something like that) are still around. That stuff is flawed but STRONG, ok, "Come Rain Or Come Shine" in particular, you talk about a defiant old man, there it is. But you know we'll never hear it. It's Frank live in front of a band recording while he walks around, just like he would do on a show. The pitch is pretty shaky, but the spirit....DAMN. Feelin' Good has charts by Allyn Ferguson, Jack Elliot, & Peter Matz, so if used to wath The Carol Burnett Show and think, wow, this is cheesy music with a DAMN good band and charts that are waaaaay better than they needed to be, then this is pretty much that only with Sarah Vaughan instead of Mac Davis or some such network-friendly persona. or Steve & Edye or other credible singers who wanted that kind of "now sound" for at least one number.I don't know that I "like it", but there's certainly nothing wrong with it, It certainly succeeds at being what it wanted to be. I will say this, though...I think it was Dusty Springfield who tried to break this as a crossover hit (followed by Carmen McRae, she did it on Dick Cavett iir), and I never got it, the song, kinda....yuck. Nice changes, but those lyrics, what the world needs now is for everybody to fuck before going to work, i mean, yeah, but just DO it, don't write a song about it, please. But that same sound, those three arrangers were all over your TV tubes in the variety shows of the time, so if you're of that age, none of it should sound unfamiliar.

Those plants look familiar, and so does that lady singing.

Thanks for that Gil cut. I've long known of it, but don't know that I actually own it myself. Gotta make sure about that, thanks for the reminder, I will want the entire album/CD!

TRACK ONE - Either Shank or Pepper on alto? Or both? Activist scoring! More bone than meat, overall. Nut sure which, if any, coast this is from, moments sound George Russelli-sh, actually, but I generally get more meat from Russell than is gotten here, so I'll chalk that up to coincidence. TRACK TWO - That WILL be Jaws.https://www.discogs.com/Harry-Edison-Edisons-Lights/release/2777312 TRACK THREE - Oh my. I'm sure that felt good at the time, but please, no Bobby Durham references, ever, please! And here's where you'd really want Buddy Rich, actually. This type of Phil gets o my nerves, but Tabackin, it's tenor, so it takes longer. https://en.wikipedia.org/wiki/Phil_Woods/Lew_Tabackin TRACK FOUR - This came out roughly around the same time as Blue Moses and kind of got lost in the shuffle and ended up in cutout bins too soon, which is a drag because it's a great record, imo. and that WILL be Billy Harper.http://www.allmusic.com/album/tanjah-mw0000178173 TRACK FIVE - ALL cylinders! Jimmys Jones and Rushing, Diddy Galippy, and do you ever NOT want Sam Woodyard? Sounds like a jazz part - IN STEREO! https://www.amazon.com/Jazz-Party-Duke-Ellington/dp/B0000026AY TRACK SIX - I am unequivocal in my love of Betty Carter. https://www.soundstagedirect.com/betty-carter-now-it%27s-my-turn-180-gram-vinyl-lp-import.shtml TRACK SEVEN - iirc> https://www.barnesandnoble.com/w/the-duke-elington-carnegie-hall-concerts-january-1943-duke-ellington-his-orchestra/165912 TRACK EIGHT - Gabor Szabo? Or not? Phil Woods on cough syrup? Or not? I could like it? Or not? I should recognize the tune? Or not? TPassive-agressive triangle? YES! TRACK NINE - :Very Early". Not a favorite song, but fullest props to John McLaughlin. http://rateyourmusic.com/release/album/john-mclaughlin/belo-horizonte/ TRACK TEN - Some might call this "dated", and ok, whatever. I like it, it's decisions being made in real time, Don Ellis maybe? Probably. Even if not, I'll usually want to hear a Don Ellis bad decision than most other folk's "correct playing" because by god, Don Ellis was invested in his decisions, all of them. Now is this him? I'm not immediately familiar, but it sounds like him, kind of Kentonish ensemble in some ways, but with real end-to-end ownership, from the pen to the ear. Yeah, that's Don Ellis. and it bugs me that I don't know the exact cut. TRACK ELEVEN - Don't recognize the record, and do like the music. Very much. TRACK TWELVE - I'm too old for all that by now. "What will we ever do with you?" is the type of question I no longer ask. TRACK THIRTEEN - Never too old for Braxton, though! TRACK FOURTEEN - Should know this, but don't. Want to, and will. Seems like I've heard it before, but if you can't know for sure, then what difference does it make?