JSngry

Okay, Earl May: https://books.google.com/books?id=uGPnBwAAQBAJ&pg=PT415&lpg=PT415&dq=dizzy+gillespie+earl+may+electric+bass&source=bl&ots=340POSCeVw&sig=43cF-1_5a-R5UeozamoydcF92Ao&hl=en&sa=X&ved=0ahUKEwjR8-mkwJbWAhUDWSYKHWCjCCsQ6AEIVTAJ#v=onepage&q=dizzy%20gillespie%20earl%20may%20electric%20bass&f=false But do we remember Mike Longo being there? I don't?

Who knew? https://www.mavs.com/videos/the-dallas-mavericks-salute-dizzy-gillespie/ This track comes from an album put out in 1975 by the Chevron Research Company, edited from The Standard School Broadcast as a public service. The LP records, with teachers guides, were available free of charge to elementary and junior high schools throughout the West, Rocky Mountain area and the Southwest. This track comes from the album titled, "Brass", and features an interview and performances from Dizzy Gillespie and Jon Hendricks.

The Millionaire & His Wife Sanford & Son Sonny Rollins & Friends

Joe Kapp Cap Anson Anson Williams

Might have been Earl May, but for some reason I'm thinking John Lee, like he was announced and I thought "John Lee of John Lee & Gerry Brown?"...but reading bios, Earl May seems more chronologically likely. I honestly do not remember.

For some reason, John Lee on bass is sticking in my mind?

Dizzy @ Mother Blues, hey I was there too! Fine band, good show. Mickey Roker. I remember for sure, not sure who was on guitar or bass...John Lee maybe? Al Gaifa on guitar? I remember Dizzy being surrounded by women every moment he was off the stand. And Dizzy was a master MC, he knew how to present a set and engage an audience, onstage and off.

Reading through this a few times, I'd like to change my comment of "nice" to excellent. Outside of Schuller, there's surprisingly little discussion about what Tatum did musically that was so widely admired, beyond playing very fast. More commentary like this, and even better, more commentary that follow through on the threat to actually understand the mechanics and the context. Both! Knowledge of science, not just emotion and sociology. Because this shit don't just play itself.

And ok, quiet as it's kept, the line from Jerry Jemmott to Jaco has Rocco Prestia in between, and let's talk about Chuck Rainey as well..."white people" who were all slack-jawed about Jaco very often, in my experience, didn't really pay that mjuch attention to R&B records - but Jaco damn sure did. Hell, checking put bass players and not digging into R&B is like checking out women and never looking at Sophia Loren, you know, even if the style is not your thing, the foundations, mechanics, and the execution of the concept and design are fundamental to the overall concept. You need to be aware, ok? Check out Chuck Rainey here, hooking up with Harvey Mason, this shit is impeccable, don't let the loping tempo fool you into thinking there's anything "basic" about this, this shit is right;.And deep. Chuck Rainey, y'all, Chuck Rainey. BASS!

Jaco definitely consolidated a lot of things that were already going on, so as a coalesce-er, yeah I get that. But I'd argue (and I'd be convinced, although probably not convincingly) that Larry Graham was just as "revolutionary" as Jaco, maybe more so. I mean, on what/whose turf is this "revolution" being fought and what are the stakes? Now having said that, this is totally convincing to me, not as a "revolution", but just as a rightness of concept, vision even. People talk about WR during most of the Jaco era and note the absence of a percussionist as some kind of concession to "rock" or whatever, but hell, the way Jaco played, a percussionist was not needed, he filled that role himself when it was needed. Between him and Erskine, there it was. Maybe to focus on the "revolutionary" aspect of his bass playing is unintentional misdirection away from his overall vision. Erratic and short-lived as it was, it definitely existed.

That's a nice article that really does the math.

Yeah, if you don't have anything to speak of (no semi-pun intended), you can start here and build out. If I was ever even in the same room as the record I'm playing more than 25% or so of the time, I'd have snapped these right up. So carpe diem bro, because you know...

As well, Paris also came out through RTR (on several labels, and then again on Malaco!), and Zurich on Dragon. These were all legit according to the terms of the original waivers or whatever were signed for the gig, so including these in a "Bootleg" series is itself kind of sketchy, if you want to get hardcore about it (and if I don't have to have an opinion about it, I won't). Of the three they're releasing, only the Copenhagen date is REALLY a bootleg. I mean, does Jazz Icons do bootleg?

Starts around 12:10 or so. Don't know if that's a LP or not...sounds like the mix, but not the surface noise. I've got a clean-ish copy, but have never heard a really minty-fresh clean one. I think it's just wrong that they would do that to the cut. It's like, ok, Lee's dead now and we know better than him what he wanted his music to sound like. If that's a conscious preissue production choice, I hope to god they at least advertise it as such and not let people go around thinking that that's how the sucker was actually released in its time. Yeah, this is fucked up:

Yeah, I know, just had to live through it all and remember not really being convinced, not even about his greatness, but just about him being too much more than a "picker" (i.e. - dazzled by the initial flash, but after the dazzle wore off...), until those Joni albums. Still have a little in me about all the young players who thought that Jaco had invented all that stuff. No..... I also lived through the decline...the grapevine travels fast...that was sad, because you'd hear stories and think "surely not"...but know we all know, surely yes. Apologies in advance if this is "improper" in any way, but for me personally, the more dead he becomes, the more his annoyance factor diminishes and the more I can allow myself to really "get" him as the flawed but ginormous spirit he really was. Oh, I don't know...

Somehow I remember him as a Dodger?

Jaco wasn't even the "greatest" bass player in America, never mind the whole entire world.

Gladly! Ok, Paris needs to be part of the indelible permanent history of this music, but it's seen any number of releases and if I understand correctly, not all of them actually "bootlegs", just maybe not money in the estate's bank. Same with Stockholm, and to a lesser extent, Copenhagen. So...why not do it right and put out all the recordings from this tour? They've all been out there, but some are more easily found than others. And seeing as one or two of them I only have on cassette, that's a set I would jump on. This one, I'll....wait for it to walk my way. Not really a complaint, I mean, everybody's getting paid through the channels that are probably perceived as "proper", and if there's a noticeable upgra(d)ted in terms of sound quality, Hooray For Miles Davis (picture below), but for me personally, not an Immediate Must-Get. Then again, I'm probably not the target market for this, so all you young people and Totally Ethical Motherfuckers, carpe diem, and have fun! But this...THIS is the one that needs to be heard!

whoa...

A remarkable photograph. Question for the pros - do people g3t lucky when they take a picture like this, in the middle of a very fluid moment, or are they like the cat who waits for exactly the right moment? As with the McCain/Health care photo, the origination point might be of a political nature, but the story told by the image transcends mere politics.

Not quite that, but...hello Johnny Desmond (no relation to Paul, not sure about Norma).

Hello David Lee!

The projections seem to be showing some more eastbound paths, but even at that, they don't show the mainland being totally safe. The strongest hurricane ever documented, they're saying now. Scary.

Truthfully, I've yet to see a "classic" or "all-time great" Western (not all the filler stuff that you can get on STARZ Westerns, but the consensually classic cineflix) that I haven't liked. It's genre that was (and still is, imo) that provides a blank canvas on which to Paint Your Own Mythology. I also like a good number of TV Westerns for the same reason. Heroes and Villains! And sometimes no clear delineation of who is who.

Not much of a John Wayne fan here (sorry), but McLintock! is ginormous fun (for me, taken as a tall tale and not a lifestyle manifesto...and that's true about most entertainment in general?)..