JSngry

It's just funny, that's all.

Give me an example of a "garish movie score" from, say, 1945. and then let's do a contrast and compare, ok?

A NICE Day! OTOH, all that repressed anxiety had to find an outlet somewhere! You get too cold and it does get hot! Cool better than cold, unless until otherwise. Konitz better than most, always. Heroin also no better than coke, even when mixed, but either way...no matter where you go, there's always somebody there. Thermostats in action!

uh....

I think it's interesting (in what way, I'm not yet sure), that the dancers are ballet dancers instead of ballroom/etc dancers. No twerking, but to what degree that's a good think (sic)...I don't know. Then again, there's always this..is Russell Malone playing music for these dancers? If so, let me listen!

The bulk of this set is pre-war (which war? does it matter? they're all the same!), and that's where my interest lies for this band from a musical, not just sociological, standpoint (and you can argue that they're the same thing, and yeah, maybe, but been there done that, just not right now, fair enough?). The Victor era was often/usually raw, ragged, and not without it's charm, very much "big band", very much "pop music". But Goodman evolved, his band went with him (that's what they were paid for, right?), and really, the music became less "pop" and more "classical", less "big band" and more "orchestral". The same thing was happening with Ellington at about the same time, right? Different energies, hell, different worlds, but much the same impulse - this music can "be" more than disposable feel-good dance music, or even better, this music can be feel-good dance music and also add more layers of substance, meaning, feelings. "Third Stream" music as an attitude, a true blending of esthetics...I don't think that the early 40s Goodman band gets looked at in that light very often, but it certainly can/should be, maybe because "Third Stream" is not a term that's favorably embraced by a lot of people, but oh well, tell that to Ran Blake, right? And yeah, Gene Krupa was all that yowsah hot momma, but...Dave Tough? Sid Catett? Nick Fatool? Those are some tasty motherfuckers! And hell yeah, big bands got louder over and after the war ears. Life got louder. The atom bomb is not exactly an instrument of charm. Or am i missing something about that? Does this person look beguiled in any way?

Check out Jack Wilson! There are some records that are justifiably overlooked in their time, becuse...real time is just that - real. But a lot of these records sound good in a "smaller" way years later because they're not in real time. They don't necessarily need to be compared with all the true bigness around them, they can step into a quiet side room and be heard by themselves, where their modesty becomes them. I think this is such a record.

Not going to worry about it that level. It's pre-ordered, so it'll either show up or not. I'll either get billed or not. The only insertion point for me is if I get the wrong damn set (happened twice over the last bajillion years,, not bad, all things considered). And you know, it's not something I have to have. I got that whole series of Hep CDs of Goodman Plays ______ . If need be, that's good enough. I just figure that Mosaic will be even better. But I'm not greedy or obsessive about it, not these days, anyway. But hey - that was a damn good band that played extremely well. So here's hoping that it comes back in stock so people who might want to check it out have a chance to do so. If it doesn't, you can still get the Heps, usually. But if you can get the best, why not?

And if I don't get caught in the Voicemail Loop From Sadism Hell like happened the last time...

Any word on the Goodman?

And he's likely to move to Florida. What could possibly go wrong there?

My daughter-in-law found "Nu Jazz" very soothing while she was pregnant, and so did my granddaughter when she was very newly born, but then last week, classical piano, Chopin in particular, seemed to really grab the baby's attention. Now that's one thing, but another thing is that here are people, a family, who are not afraid to go looking outside the mainstream. It's a life/lifestyle choice, really. They love Spotify, and Pandora. And they don't buy shit, really, and not just because of the budget. They look at buying music in any real quantity as putting a freeze on further accidental discoveries borne of intentional curiosity. Not the kind of attitude to build an industry around, obviously, but this is how it's unfolding, isn't it. Spotify gives you a collection, Pandora gives you a radio station of associated randomnesses, either way, music is easily available to the degree that you want or don't want. And if you want to really wonder "why?" and/or "why not?", that's really what it comes down do - any system, forced or voluntary, will only become what the users put into it. Curious people will explore, calcified people will seek the comforting familiar, and the most of everybody else will seek comfort, hear something unexpected, "like" it once it's apparent that it's acceptable to do so, and then stop there. It's a pity there's not used stores for streaming music, because what's tomorrow's equivalent of, say, Breezin' or Feels so Good going to be? If a potential stream falls in the woods and no one is there to stream it, does it still make a noise? The macro-isue is, imo, this whole concept of "binary choices" is ok for data, horribly wrong for people. "Either/Or" does not encourage exploration, much less an impulse of curiosity, it encourages a comfortable, and very controllable, stasis. Pi is infinite (so far), and "infinite" is not really an option in Binarychoiceland. Either/Or does not allow for either "maybe", much less "neither". Jeez, data is just one part of experience, it is not experience itself. impulse!

I never try to make a fool out of anybody. What they do with themselves is beyond my interest and/or control. ED Edwards, dammit! A KILLER set just waiting to happen!

Which Edwards? Seriously?

Especially if they're doing another one of those package tours!

Sam Rivers says what's the big deal y'all? impulse!

I got an email from Concord today pimping the new St. Vincent/ Taj Mahal, Keb' Mo, Kidz Bop, and DJDS sides, no mention of anything Prestige or Jazzmeia Horn. No mention of this release on the Concord's Prestige label page: http://www.concordmusicgroup.com/labels/prestige/ but the label does have her album on the home page, down past Steve Martin and other peoples up top http://www.concordmusicgroup.com/ http://www.concordmusicgroup.com/albums/a-social-call/ I'd be expecting a relaunch/rejuvenation/whateveronly if I was already expecting everything else first.

Well, here's another one. Any word as to how Mr. Stapleton is doing? Sincerely hoping that retirement is treating him well, and vice-versa.

I very much liked his photos of local flora/fauna/places/things and found his advocacy of both Charles Tyler & Mantovani downright provocative.

Hey, my first 5-6 Bird records were airshots. "Sound quality" is never a primary concern to me because no record or CD sounds 100% real to me. At best, it's been a band sound in the room where I can't tell where the speakers are. But live, I know exactly where the drummer is, especially if they're like, right behind me, in my ear... So there are alternates on this BeeHive thing? Of what?

Barbara Hale Irving Stone Loel Passe

Alayna Worsher Jeff Rense Michael Drayne

So, jazz is just as popular as it's been since the last 5-10 articles about how jazz is not popular? Dammit jazz, there's musics that aren't as good as you, but you know what? They want it more! So c'mon jazz, get your ass into high gear and show 'em what you're made of. Ok? Hell yeah. Alright, Jazz on three. 1 2 3 - JAZZ!!!!!!!!

Do you love them Reeses to pieces?