JSngry

Only in the good ones! Not in the nightmares!

Cedar Walton's dead. He made more than a few records on electric piano. On some of them he plays very well. Some of them really suck. And some of them succeed in spite of their stylistic trappings, because Cedar Walton was a helluva good writer, period. What any one person "likes" or doesn't "like" is the point only when it comes to what records you do or don't want' to listen to. It ahs nothing to do with history or what somebody else likes or doesn't like. Nothing. At some point, the notion that something like this was "bad" because of the trappings just got laughable. Cedar Walton playing Rhodes or not playing Rhodes, that is so completely...inconsequential to whatever was or wasn't happening when he did.Music, any music, has intrinsic content quite apart from the manner in which it is conveyed. Rhythm, harmony, timbre, balances (physical/mental/spritual/etc), hell...execution period. A good idea not fully executed is till a good idea, but a less good idea exquisitely executed, that is a thing too, in both cases, credit due, ok? I mean, I think it's a drag that sooo many young people have such an illiterate sense of diatonic (or any, really) harmony that they have no idea what makes, say, Ran Blake such a badass man of surprises.. Just like I think it's every bit as much a drag that all these "old guys" have such an unevolved sense of "rhythm" (I mean, c'mon "rhythm" and "time" so so not synonyms), that Dilla makes NO sense to them whatsoever...there's physics involved in all of this shit, ok? All of it. Armstrong, Tatum, Ellington (geez all those colors!), Bird, Warne, Trane, Roscoe, Braxton, all these guys were not just "playing music", they were engaging in pysio-pshyco-spritual (meta)physics. That's why they got there and so many others (most, really), at best sometimes and/or sorta got there. At best. Sooner or later, any artist - any human, really - that is worth a shit confronts the physics of what they are doing, either formally or intuitively, or in Perfect World, both. "Taste" alone is just...masturbation, which as I'm sure we all know is as important as it is pleasurable as it is necessary, but, really, it's still just masturbation. It';s not an ultimate destination point...I mean, geez, I ain't that old of an old guy, nor do I aspire to ever be. If you can't justify anything with musical physics, then don't try to justify it, ok? Just go to your room, close the door, and have a good time. That's cool too! Anybody can write their own personal history however they desire, but ultimately, any history that is to have relevance beyond the strictly personal has to look at the broadest overall picture possible, so sorry, people who don't like Rhodes, or Disco, or electricity or anything else, vibraphone, flute, whatever. That shit happened, people heard it, it is history and life/music is going on because of it, not in spite of it. Go ahead, be an island, just don't act like the beach is getting bigger when it's really that everybody's dying. That's what it means to me to be an old guy - to stop fucking pretending like what I "like" makes even a half a rat's ass difference to things at large. There's a reason for that, and it ain't nothing to do with "taste".

Well then, the first thing that comes to mind is Presenting Eddie and The Falcons! Or all those first wave of post-Move Roy Wood records. I only discover them once they were in the cutout bins, and then, nobody I knew want to hear them. Roy Wood, that guy is severely overlooked, imo, and I know he didn't make any kind of record until after Bird was already dead.

What are the parameters needed to be classified as "post bop" Chronological? Musical? Cultural? Some? None" All? More? Serious question, I really don't know what some of these terms mean anymore.

Do you need to be a president to post to the Mosaic Gazette? Have standards for cyber communication gotten that controlled since I woke up this morning? Can I be allowed that dream?

Or maybe Elvin stayed on drums and Milt Hinton played bass, what a very different record THAT would have been!

Old guys are funny! Like, you get old and objectivity is still not a consideration, hilarious! "Taste" uber alles! Forever young, right?

These things are my new supermarket frankfurter religion: Red that ingredient list again - NO SUGAR, period. But plenty, PLENTY flavor, and a quarter-pound at a time.

This one? http://www.thevideobeat.com/rock-roll-movies/big-beat-1957.html

Fishing!

I think it's just dandy!

I bet a Sanslusukan company led by Georgey Girrle comes up and copies their sets on the Renal label and puts a sticker on it that says "For Discriminating Transplant Recipients Only". Then they'll flood the market with those sets.

Got this in last night, just had a first listen. Very nice,complex, detailed music, not dissimilar in cognitive impact from Elliot carter, actually (although with a totally different symmetry/geometry). If you find yourself sometimes leaning on the drums to feel Coleman's music more than actually hear it (I know that happens to me when I'm lazy-listening), well, too bad on this one!

yeah, it's one of those "supplemnetary" things that fill out that fill out a bigger picture. Also see that Johnny Coles Katumbo is on there. That's a typical Mainstream of the time - with better/tighter production it could have been a great record, but as it is, it is what it is. Still a better-than-good listen, though, Johnny Coles! The bit of crossover in personnel from the then-Gil Evans band is pretty interesting: Johnny Coles - trumpet, flugelhorn Astley Fennell - trombone Howard Johnson - tuba Gregory Herbert - tenor saxophone Cedar Walton - piano, electric piano Reggie Workman - electric bass Bruce Ditmas - drums The tune selection is as well: "Never Can Say Goodbye" (Clifton Davis) - 3:01 "The September of My Years" (Jimmy Van Heusen, Sammy Cahn) - 5:29 "728" (Johnny Coles) - 7:17 "Petits Machins" (Miles Davis, Gil Evans) - 3:41 "Betty's Bossa" (Cecil Bridgewater) - 4:28 "Funk Dumplin'" (Coles) - 6:49

Les Brown Blackie Moore Mantan Moreland

The tenor saxophonist Fred Staton playing at the Penn Club in Manhattan, with Bertha Hope on the piano. Credit Will Glaser/The New York Times Article here: https://www.nytimes.com/2017/06/29/nyregion/fred-staton-jazz-saxophonist-plays-on.html

It's good enough if you don't pay a whole too much lot for it.

:improvise" is a verb, "element" is a noun. They almost form a complete sentence by themselves!

Sounds like the tape has degraded a fair amount, but even at that, this is the group that some of us have long lusted to hear a recording of! Who's the drummer?

Rhino will end up in the hands of that Anchorran pirate, Shordi Pulljo, I just know it.

I thought he was, yeah. My kids both had exposure to him.

Or just show up on the street and start playing, if that's legal where you live.

"commodification" , yes. and although the dedicated market for "traditional forms of jazz" is small in size, there will be no end of performers to plug into whatever performance opportunities arise, the "product" has been clearly defined now. There's more players than audience!