JSngry

Well, this is interesting!

Here we go!

In his very last days, as I understand it, he was taken off the streets and given baseline (if not better) humane care befitting a person of his then-condition (food, clothing, shelter, medical care, etc.). It was at some facility in the area, nothing fancy, but off the streets and out of the elements.

Gene Frame Phil Roof Crispus Attucks

I see some sources listed as Internet Archives, which if it's what i think it is, has been a fascinating site for years, just go blind, stumble through, and see where you land. Is this a new iteration of that, or just what?

Didn't mean it as any kind of a diminshment (one can say the same thing(s) about, say, Booker Ervin, Sonny Stitts, a.o.), theres always the chromatic things, there's always the same contours done with them, so I stand by that part of it. But like Chuck famously (to me, any way) once said about Booker Ervin,, he's important not for what he plays, but how he plays it (syntax quite possibly paraphrased, idea not). People used to give Joe Henderson that same tag, but I never really bit on that. But...on some of Joe's "lesser" records, you can hear chromatic symmetries being used as connection devices, and...that's ok. IMO. I first heard McCaslin on a Monday Michiru record, and was totally mesmerized how perfectly he played over a totally electronic beat "system", a freaking perfect symbiosis. Then I heard on some other dates playing more traditional forms and was...less enthralled. But this stuff, this whole "let somebody else play bebop, extended or otherwise". vibe of his (when he does it), it just feels right to me, and I'll go with that right until it starts feeling wrong. The dude played a variant of that "same solo" on one of the Ryan Truesdell/Cil Evans records, and even as I heard what it was, even more I heard how it was, and it sure felt right. Again. The solo with Monday was on "The Right Time" off of Routes, and all I can find on You Tube is remixes, where there's a lot of chopping involved, which works, but the original cut, that was one of, perhaps the first Monday album I heard, and that cut just made my jaw drop. otoh, the very "sameness" of his solos make them perfectly choppable, which in these days and times is in no way a liability, imo. It shows, perhaps, a convergence of macro-mindsets from different starting points. Of such things is cultural evolution made? to that end, refer back to that drummer not needing a bigass muti-rack drumset. Things are happening, and what ws that you said about history is happening now, it's happening to us? Is that close enough for jazzbulletinboard? Here's the most expansive remix,of the question. It is nothing like the original cut, but the bits of McCaslin's solo that they use are choice. And yeah, I lke this kind of thing anyway, when it's done like this. But the original is just...visionary.

Isn't that a Japanese-ish style reissue rhythm? Offer everything but only in small supplies over limited but broadly recurring cycles?

Coincidentally, I watched this on Roku last night and liked it more than my rational brain was telling me I should. The guy pretty much lays the "same" solo every time out, but it's a good solo, and I really really like the way the band plays as a unit. Check out the drum kit. Bass/snare, no toms. Two cymbals + hi-hat. Sunny Murray-ish reductionist drum kit, almost. Anybody who wants to think of this as rehashed fusion, yeah, I can see that, but again, look at that drum kit and build out the esthetic from there, see if that gets you right back to fusion, even of a Steve Grossman/Stone Alliance type thing. Maybe, but not really.

No no no, it was around 1976 or so, the first album was on Black Saint, that much I remember. Also, let's not forget the George Adams/Blood Ulmer intersections etc.

Well, here it is on Atlantic, on iTunes: https://itunes.apple.com/us/album/sonny-stitt-the-top-brass/id310535488

It's probably PD somewhere in the world so it's cheap to provide on all fronts. Is the Atlantic album also on iTunes?

Reckon it might be this? http://www.allmusic.com/album/sonny-stitt-the-top-brass-mw0000633366

If they don't charge the card until the order "ships", the date should not be relevant, correct? That's the whole point of pre-ordering an item that's back-ordered, I would think. Email sent to the info@ inbox. Hoping to get another clear and concise answer from Fred. What I don't want to hear is that, well, your order is so old that we lost your CC info, it's been deleted. That would be really sucky, sucky and scary. I don't expect to hear that, but the initial optics of this are not immediately reassuring.

Duets and Solos? I tried listening to it while driving and had to stop, it was that compelling. really serious, and seriously focused, music.

I put it off for decades, but finally got around to hearing this record :https://www.discogs.com/Severino-Gazzelloni-Aloys-Kontarsky-Music-For-Solo-Flute-Music-For-Flute-And-Piano/release/1127326 If you really like Dolphy's flute playing, this is a really rewarding listen, a kindred spirit on the instrument, perhaps, and somebody of whom Dolphy was definitely aware.

All of the above! And more! You know, when I was a kid, I thought all of "that" was kind of dull/whitebread/etc. Then I read a really good appreciation of Burt Bachrach in Jazz and Pop magazine that started me to slowly re-listening and reconsidering (also in the issue was a deeeeep interview with Rahsann, where he talked about shit like how Wes Montgomery put his life-soul into his sound and now you can push a button and sound like Wes Montgomery, so yeah good insights from Rahsaan and good insight into Bachrach all in one skinny magazine, it was so easy to learn about different shit at the same time then...oh well). When I was in my teens, I hated this. Now, I get it. It's not about cum, and it's not about Fuck The Man, and it's not about anything that a kid, hip or nerd, would be instinctually drawn to. What it is about is really boring stuff like metric/harmonic displacements, tension and release, and creating a melody line the just keeeeeeeeps on going. And going. And going. It's sexual in a most cerebral way, and cerebral in a most sexual way. Don't expect a kid to know what that means, a kid won't know, a kid can't know, a kid, perhaps, shouldn't know. I mean, once you calm down and start hearing details, once you learn enough to get an awareness of how harmony has a shape, rhythm has a shape, orchestration has a shape, damn near everything has a shape, ok, then you hear all the details on this record and realize that everything that is happening happened intentionally, and yet Dionne is just in the zone with it, it's all intentional but there is still soul and energy, humanity out the ass, full humanity, yin and yang, it is humbling. Listen to the bass line, listen to the little background touches that didn't have to be there to sell the record, listen to that goddamn trumpet player just bringing it home and putting it to bed (dynamics, too have a shape, and list to the dynamics of that, what, two bars? JUST two bars!), there is so much motion, contrary and complimentary all at once, this is just one hell of a human achievement, and it's all in a fucking pop record. I'm not going settle for less than that in any music, not as an ongoing investment. It's not about anything except fully realizing the spiritual potential of what it means to be alive, in whatever body you are in at the time. It can be little or it can be huge. But what it's not about is settling, even settling for "excellence", that's ultimately the devil's game. Life is a series of contractions and expansions. And. Not or. When you settle, that's not life. Betty Carter would eat you ass live right in front of your face and you would take it because she was always right. Lockjaw Davis will slit your throat and drink you blood (film at 11!). Dionne Warwick could take more Burt Bachrach psychodramas than any one human should have probably healthily had inside them and create a very adult, suburban soul that is at lease as so covertly subversive as to be paradigm-changing. Life is short, humans are eternal, and at some point in life, details matter. It is only in real life that a girl has to cry. If there's such a thing as American Pop Songs As Lieder, "art songs" not just consumptional warmfuzzies, this type of thing gets in on the first ballot, at least if I get a vote. There, I feel better now.

And even after a power outage, a lot of us are close enough to a major-ish urban or suburban thoroughfare that there's traffic noises somewhere. I know I can't recall not having some kind of traffic noise since I started living in my own houses, any of them, then or now. And it doesn't bother me. But every once in a while, I'll have occasion to go "out yonder", to the really "boondock-y" country. And then, not only do you realize how unquiet your normal world is, but at night, you realize what "the dark" really means, especially when there's no moon. I still remember the first time I was in the desert, first time outside of some kind of greenish terrian. Fell asleep in Amarillo, woke up somewhere in New Mexico just one skinny ribbon of a road with nobody else on it, and no other trace of the human touch. I freaked out, literally, had a sort of anxiety attack, took a good half-hour to even begin to calm down. "Alone"...be careful what you ask for, etc. Know what that can be before you go after it!

Mine has not, and I ordered on May 4. Did you order earlier?