JSngry

Getting them out of the house and getting a tax deduction is exactly the use I would expect! But seriously...if one has the time and inclination, I'm sure there are many (ok, a few...) lower-end schools (all levels), community cultural centers, etc. that would not mind being seeded with some quality assets for whatever music education/outreach programs they are attempting.

No problems here, from phone, work, or home. Chrome or Firefox. Maybe try logging out, clearing cache/cookies, re-accessing the site, and then log back in and set a new bookmark?

We have a "Friends Of The Plano Library" group that accepts donations for their regular book/etc. sale.

and I can think of some local drummers with whom I'd love to see him share the bandstand!

The plot thickens...

Yeah, I'm long past the point where I only buy stuff just to hear it right away, especially something like this, where I already know a fair portion of the contents. Still, glad to get it, and even more glad to know that it's there.

That I've got it now and will get around to opening it before the end of the year?

Get Before Gone That's pretty much when you get anything, right?

She got rhythm.

https://www.discogs.com/Lee-Morgan-We-Remember-You/release/6413755 It's a boot of a grey-market. It's also pretty good stuff. But don't pay for it. Tracklist Hide Credits Birdland, NYC; November 17, 1962 1 Bruh Slim Composed By – Jimmy Heath 09:50 2 Bluesville Composed By – Sonny Reed 11:45 3 All Members Composed By – Jimmy Heath 06:00 NYC; January 28, 1972 4 I Remember Britt Composed By – Harold Mabern 09:37 5 Lee Morgan Introduction 00:21 6 Angela Composed By – Jymie Merritt 7:02 7 The Sidewinder Composed By – Lee Morgan 04:18 Credits Bass – Jymie Merritt (tracks: #4-7), Spanky DeBrest (tracks: #1-3) Drums – Albert Heath (tracks: #1-3), Freddie Waits (tracks: #4-7) Flugelhorn – Lee Morgan (tracks: #4-7) Flute – Billy Harper (tracks: #4-7) Piano – Barry Harris (2) (tracks: #1-3), Harold Mabern (tracks: #4-7) Tenor Saxophone – Billy Harper (tracks: #4-7), Jimmy Heath (tracks: #1-3) Trumpet – Lee Morgan Notes #1-3: Recorded live at Birdland, NYC; November 17, 1962. #4-7: Recorded in NYC; January 28, 1972.

Coltrane in Paris is at times like hearing into a wormhole that takes you straight from 1960 to 1965. He never let that loose that much for the rest of the tour.

I like all of 'em. There's so much "reflecting influences" going on now that to hear anybody doing their own thing with total confidence in themselves to be themselves, that's thrilling from a human perspective. And yes, voices are instruments. So are turntables. So are squeaky doorknobs if you use them to a controlled end.

Yes, I'm pretty much ther3e, seems like at some point she lost that youthful spunk...still remained an exceptional/exquisite singer, though. But...this early-ish stuff, she's just so...uh....sassy. the way she thrusts her face and moves her jaw and rolls her shoulders...it's virtuostic and sexy in equal measure. Like an olympic athlete or something.

Like Leroy Neiman, only worse...

Ohhh yeah...

whoa....seriously fucking whoa....

Buying the Ornette to save the LPs ( for/from what, I have no idea, but it seems like a valid-ish justification?), but the Eckstine, is due to hearing this on a YouTube discovery-binge and thinking, wow, that chart is a lot more..engaged than it had to be. I don't know if there's been a curve I'm now behind, but a re-evaluation of Billy Eckstine as more than just "the guy who had that hip big band and then turned into a bland MOR crooner for the next how many ever decades" is definitely something that seems due, for me, at least. The man's instrument was remarkable and he yielded it masterfully no matter the context. I've hears some pretty questionable contexts, but never any questionable singing.Is it just me, or is he pretty much forgotten these days except for leading the big band? That just seems wrong...

No....it seemed kind of a silly concept, but if I'm wrong, I'd like to be corrected, please.

It's a phase I'm going through.