JSngry

Hey, I love Mosaic, I'm a lifer (at least until the Goodman comes back!), and I toally get the cutting them slack because _____ but... Just as I wanted nothing to do with the Four Freshman set, I don't want anything to do with the Bing Crosby, Rosemary Clooney, of Eddie Condon sets (although for those, it's just a matter of I don't want that much more of artists I already enjoy, and the the FF, it was strictly a matter of FUCK The Four Freshmen, ok). OTOH, the more Cuscuna-centric product has gotten my fullest-ish support. Dial/Savoy/Beehive, not needed, but Braxton, Threadgill, Jordan, etc, hell yeah, Just because. Business realities change, have change, continue to change. Thier market is shrinking, the EeeYew PD Musiporn sets are just stupid mad ubiquitous, and, you know, physical product, so yeah, they're old, we're3 old, but still adapt or die, as they say, and if you're ok with dying, that brings us to our next point: Why in GOD'S name do you put it out there that OMG, we're about to drown, and then get caught apparently totally off-guard when the people you know want your shit actually come and get it because, you know, if you say you're drowning, hell I'm gonna believe you. You get 1000 life preservers thrown at you,at least pick one, right? Don't go swimming around yelling for help, take the help and do something with it, don't just flail around in the water, get to the boat, get pulled in and then jump right back in the water, ok? Especially on the assumption that all those other life preservers will still be there waiting for you for as often as you jump. I mean, I know life is not that simple when real people are involved, but, you know, be careful what you ask for and all that. This great country of ours was and is still built on cheap and/or free labor, so, c'mon. Hire some parolees for a day or two a week. Pretty sure it's deductible if you do it right. So - any word about the Goodman?

Unless and until you can prove that Hodges' band didn't travel by Jeep instead of bus or car, maybe it is?!?!?!

Here's the original: Which was quickly, quickly, adapted for this, which I still remember. From one of the songwriters, Paul Evans: http://forgottenhits60s.blogspot.com/2010/01/ad-nauseam.html I wrote “Happiness Is” with Paul Parnes (Elvis – “The Next Step Is Love”, Me -“Santa’s Stuck Up In The Chimney”). It was originally recorded by Ray Conniff and charted on Billboard. The singers on the Kent commercial were studio singers with an arrangement à la the Conniff recording. At the time, cigarette commercials were allowed on radio and TV, but they couldn’t equate cigarette smoking with good feelings. The advertising agency figured that the song was popular enough so listeners would just hear the melody where the words “Happiness Is” belonged, hear the commercial’s lyric, “the taste of Kent”, and put them together subliminally - Voilà, “Happiness Is the taste of Kent”. The commercial ran for three years plus. Hopefully this eases the pain. Or at least redirects it!

The assumption that at this point Mosaic gives even half a damn about even appearing to be desirous of creating the illusion be in a forward-leaning momentum business model profile is, shall we say, at best....delusional? imo, of course. Really, I think they were ready to liquidate, hang it up, and go off someplace else. No doubt they're "surprised" by the volume of people who want to get it NOW before it's ALL gone, but if they were really that, uh, desperate, they'd have planned for this and hired temps or nephews or drove down to the corner and picked up a day laborer or two. That's how people who really want to move shit towards Done do. Quite apart from that...

Taking time off from duty for a little listen, not too much time to comment. TRACK ONE - Clifford Jordan, no doubt. TRACK TWO - sounds like CTI (not a complaint), Ron Carter, Hubert Laws. TRACK THREE - Frank Lowe? Not bad, but I'd not like to think that it was anybody's best work and/or defining moment. TRACK FOUR - Sounds like Gabor Szabo on the guitar, except for the context. Bari player here almost sounds like the tenor on the previous cut. Trumpet player has personality and the beginnings of a real voice, I can hear him/her thinking while they play, but the next step is to not really think about it at all, just play it. Not that it's that easy...or that that's really the next step. Just that there is a next step from where this is. TRACK FIVE - This is music that will prove that The Test Of Time is a real thing. TRACK SIX - Pentatonic is the new diatonic, have fun with that. It's neither old nor new enough to sound either old or new, in either sequence. TRACK SEVEN -I think about the reasons why anybody would do a Beatles song in this manner, that Beatles song in particular, I mean jesus, you talk about everything that drove Zappa to do We're Only In It For The Money, I think you can find a lot of it in that song, and none of them make be particularly happy. I get along without you very well, wasn't that a song too? Is that Dave Liebman? It's like Wayne, except when it's not. Wayne, even cliche-Wayne, always has a ....depth to it that this does not have at the moments it really needs to. TRACK EIGHT - Oh god, I have this record, this is one of the Music Inc. big bands, right? The first one, right? WRONG! It's "Plight" from the second one. DOH! Tolliver's writing and playing is pretty distinctive. I don't know that all of his tunes hold up under the weight of his scoring, this might be one, the form is broken up but repetitive, but oh well, I still dug the shit out of that album, especially Side One. If you can have the LP esthetic, that was just one massive slab of GINORMOUSLY Defiant Last Gasp Music. This tune led off Side Two, and was lighter, and again, the repetition of form is not served best by this version (imo), but I give that band and that label and this record fullest props, it's like a whatever-that-style-is-called-today version of Dizzy's 40s big band, not particularly "tight", but fuck tight like that when you bring the meaning, ok? Strength in numbers, especially when all the numbers are strong on their own (what kind of a sax section are we talking about? A James Spaulding/Charles McPherson/Harold Vick/George Coleman/Charles Davis kind of a sax section, end of story). Tolliver, then today's man Charles McPherson, George Coleman and a big band mutually ass-kicking onto a higher plane and then it keeps going? Sheeeeeeet, that's why you have a big band, to do that, to play as a more fuller community. Accept no substitutes, unless they pay to, and even then, do it, just don't accept it. TRACK NINE - James Carter, right off the bat. He's a man of his times, for better and/or for worse. But no matter what, I very much like that he does what he does without any compunction or guilt or anything, ever. Ever. TRACK TEN - David Murray. Not a big deal today, but those Octet records really shook a lot people up, because Murray was in a lot of people's minds, a "loft player", so this attention to detail and formal structure was not really expected. Geez, what personalities, and they all came through. I saw a version of the octet at Caravan Of Dreams, and the energy was even more than on the records. David Murray has worked hard, and has not been afraid to step on his dick on record in order to keep working hard. Whatever trenches there are left otday, I think it's safe to say that David Murray's been in them, so hell yeah. TRACK ELEVEN - That's a familiar tune, right? If not, it has a lot of elements of familiar tunes? The latter, I think, as the time settles in and the form recurs. I cut a lot of slack for direct-recorded bass, but this guy here, he is not well-served by it. His sound has more air in it, and instead of whoomp, he gets thud. There's one point where he bears down and I was like, KILL ALL ENGINEERS, but that's wrong in so many ways, moral and practical, each in their own way. Overall, I could like it or be indifferent, depending on what zone tI was in at the moment. Can't see myself ever dis-linking it though, and it does speak with a humble confidence that I will always appreciate. Well, that was fun, thanks!

But the original, it is the best. Carole King knew how she wanted her shit to sound. You go, Carole King! But this, this does not suck. 2nd best, then.

No word yet on the Goodman?

Ok, there's another song with a tenor player on it, some trifle called "Please Don't Go (Round The Bend), and this tenor player is playing the same basic vernacular as the tenor player on "Kicking The Gong Around", but it is definitely not the same player, totally different sound/tone, no way it's the same guy.+ Is it possible that Stanley Turrentine's discography needs to include a record by The Association?

Produced by Benny Golson. Vocal arrangements by Clark Burroughs. And other than a nice version of "Snow Queen", nothing to get excited about if you don't already have a natural affinity for this type of thing, which I don't, unless confronted with a full-frontal persuasion of necessity. Not really getting that here. However...listening closely to "Kicking The Gong Around"...that really sounds like Stanley Turrentine. With no personnel listed (at least on the Rockola CD I got), when was T out in LA doing that session for Monk Higgins? You think Golson might have thrown Turrentine a piece?

This Bob LaPlante? http://www.passport-collector.com/life-us-diplomatic-courier/

http://mashable.com/2017/07/12/massive-iceberg-breaks-off-antarctica-larsen-c-ice-shelf/?utm_source=newsletter&utm_medium=email&utm_campaign=newsletter_axiosgenerate&stream=top-stories#Mmph0mkUlOqt

Was Vee-Jay even an active label in 1967?

Sheldon J. Plankton Jean Shrimpton George Plimpton

Creativity, taste, and discretion, please.

Wallace Shawn Blythe Danner Andre The Giant

And I quote: https://www.lonestarball.com/2017/7/9/15944742/rangers-lose-finale-3-0-to-angels

Wally Hickel George Dickel Jake Pickle

That's a sweet cut, btw, and unknown to me. So thank you as well!

Pretty big audience, judging by the applause. Try this: Paul Desmond - Edmonton Festival 76 Recorded live at Edmonton Jazz Festival, Canada Wednesday, April 14, 1976. Desmond appeared only half a dozen times with his "Canadian Quartet" -- Ed Bickert on guitar, Don Thompson on bass, and Jerry Fuller on drums. Fortunately Don Thompson also doubles as a recording engineer, and a number of the club dates were recorded and released. The group also appeared on CBC-TV s Take 30, and were recorded at the Edmonton Jazz Festival.

Old Dan Tucker Dan Blocker Steely Dan

Harvey Brooks Brooks Brothers Zoot Sims