JSngry

Maybe he took a cue from Billy Butler and moved to a farm?

Luby's had that live music. https://www.dmagazine.com/publications/d-magazine/1990/september/low-profile-the-music-maam/

You're not taking Libby to Luby's?

More than just a songwriter, it appears, a coach, if you will, somebody who provided successful guidance when it was needed. Who knows where things would have gone if Stevie did not get this direction when he did, who knows? https://www.nytimes.com/2017/04/18/arts/music/sylvia-moy-songwriter-who-worked-with-stevie-wonder-dies-at-78.html?_r=0 Sylvia Moy, Songwriter Who Worked With Stevie Wonder, Dies at 78 Sylvia Moy and Stevie Wonder, with, behind from left, James Jamerson, Earl Van Dyke and Robert White of the Funk Brothers, in 1967. Credit Motown Records Archives Sylvia Moy’s arrival at Motown in 1964 coincided with the company’s concerns about the future of Mr. Wonder’s career. A year earlier, “Fingertips Pt. 2,” a mostly instrumental number that showcased the 13-year-old prodigy’s virtuosity on the harmonica, reached No. 1 on Billboard’s Hot 100 and R&B charts. But his subsequent recordings were not as successful, and Motown executives were uncertain what to do with him as he grew into adulthood. “There was an announcement in a meeting that Stevie’s voice had changed, and they didn’t know exactly how to handle that,” Ms. Moy said in an interview after her induction into the Songwriters Hall of Fame in 2006. “They asked for volunteers. None of the guys would volunteer. They were going to have to let him go.” Whether Berry Gordy Jr., Motown’s founder and patriarch, would have released an artist as talented as Mr. Wonder is debatable. But Mr. Gordy did not have to make the decision. After the meeting, Ms. Moy beseeched Mickey Stevenson, the head of artists and repertoire at Motown, to give her a chance to work with Mr. Wonder. “Let this be my assignment,” she said she told Mr. Stevenson. “I don’t believe it’s over for him. Let me have Stevie.” She said that she asked Mr. Wonder to play some of the “ditties” he had been working on, but she heard nothing that sounded like a hit. Then, as she was leaving, he played one final snippet of music for her and sang, “Baby, everything is all right.” There wasn’t much more, she recalled, and she told him that she would take it home and work on the melody and lyrics. With the songwriting help of Henry Cosby, a Motown producer, “Uptight” was completed. In the recording studio, though, there was no transcription of the lyrics into Braille for Mr. Wonder to read from. So Ms. Moy sang the words to him through his earphones. “I would stay a line ahead of him and we didn’t miss a beat,” she said in a video interview in 2014 with Michelle Wilson, an independent producer based in Virginia Beach. “Uptight” topped the R&B chart and rose to No. 3 on Billboard’s Hot 100. It also led to further work for Ms. Moy with Mr. Wonder and Mr. Cosby on songs like “My Cherie Amour” (1969), “Nothing’s Too Good for My Baby” (1966) and “I Was Made to Love Her” (1967), which included Mr. Wonder’s mother, Lula Mae Hardaway, as a co-writer. Ms. Moy said that Mr. Wonder’s title for “My Cherie Amour” had been “Oh, My Marcia,” but she gave it a French twist.

Madison Time!

TEE

From the New York Times' world-renowned sports section, another performance metric being used for financial leverage. https://www.nytimes.com/2017/04/17/sports/baseball/baseballs-data-revolution-is-elevating-defensive-dynamos.html?emc=edit_th_20170418&nl=todaysheadlines&nlid=25913738&_r=0 When the Tampa Bay Rays gave outfielder Kevin Kiermaier a six-year, $53.5 million contract extension last month, they were not rewarding him so much for his prowess at the plate. He is a career .258 hitter who hits few home runs. What most compelled the Rays to hang on to Kiermaier was his ability to field his position. Kiermaier, hardly a household name in professional sports, represents the new order in baseball, a sport that has been reshaped in staggering ways in recent years by a convergence of statistical analysis and camera technology. There’s a newfound appreciation for players who do their best work with their gloves, not their bats. “We’re looking at it in terms of one of our core players, and what he means to us,” said Chaim Bloom, the Rays’ senior vice president for baseball operations. “But we do see around the league, more and more, teams are taking note of a variety of skills, and trying to evaluate all the things players bring to the table as accurately as they can.” ............... Statcast, Major League Baseball Advanced Media’s proprietary combination of radar and optical tracking technologies, has been heralded as a data revolution. Statcast’s cameras have captured volumes of hitting, pitching and baserunning data in ballparks throughout the major leagues since 2015. Last season, the technology expanded to measure outfielders’ defensive aptitude, including a defender’s arm strength, first step, route efficiency and reaction time. Daren Willman, the director of baseball research and development for Major League Baseball Advanced Media, known as BAM, said last year that he was confident about Statcast’s data and its potential effect on players’ values. “Where it’s really going to end up is, players are going to start getting paid a ton more money because they play great defense and everybody realizes it,” Willman said in an interview with The New York Times Magazine.

Billy Butler had a farm? That's pretty cool. Just wondering, was your Hair conductor Harold Wheeler of Dancing With The Stars fame? Seems to me I recall something about him doing that gig for a while, maybe I'm misremembering.

Newest Oldest Person Ms. Brown was born March 10, 1900. What does that say about all the people born in January and/or February of 1900? Maybe this Emma Morano cheated all those people, in which case I'd say she deserved what she got, right?

There's a new World's Oldest Person, Violet-Mosse Brown of Jamaica. http://www.cnn.com/2017/04/17/health/worlds-oldest-woman-trnd/index.html Ms. Brown says "y'all bitches come and get me. Just try it."

And, you know, cats would travel, road bands being the social media of their day, perhaps.

Cats like Sonny Criss and Teddy Edwards sounded like they were just asking to be bitten, so quickly and fully were they formed.

Last nigt at SMU/DCMS: http://www.dallaschambermusic.org/72ndseason/trio-solisti/ TRIO SOLISTI Beethoven: Piano Trio in D Major, Op. 70, No. 1 “Ghost” Liebermann: Trio No. 3, Op. 122 (commissioned for Trio Solisti) Brahms: Piano Trio No. 2 in C major, Op. 87 The Liebermann piece was from 2012 and, as described in the composer's notes, was a piece of politico-socio paranoia. It was nice, very well-written but seemed a little too literal to spur the imagination much past what was already there. In other words, once heard, heard. no such ceilings on the Beethoven & Brahms. Towards the end of the third movement of the Beethoven, the harmony just...went wacky and then landed back home. not that it hadn't been doing that all along, but this was in a cumulative/climatic type of way that....how did this sound back in the day when people were really...tethered to diatonic harmony as a way of life? JESUS! BEETHOVEN! And Brahms...bloody hell, Murdoch, I have slept on Brahms way too long, and the more I wake up to it, the more asleep I realize I've been, and probably still am. Melodies and harmonies both move out of bounds at will, but never for too long, sort of like a loop that feels asymmetrical, you wonder at the moment are you breaking the loop, but no, you're not, but are you SURE? Never. Is it riveting? Always. Admittedly no real baseline or sample size to make a meaningful comparative evaluation, but it sure seemed tome that Trio Solisti was very empathetic, totally in sync and finely nuanced for phrasing, dynamics, blend, the whole bit. I'd go back again tonight if they were there. This kind of stuff begs to be heard in person. Beeth9oven & Brahms on the same program, in any combination, hey, where can I buy my ticket and when do I need to be there?

Sorry, did not mean to appear indifferent to the info, much appreciated. I've been sort of..."multi-tasking" more than usual the last few weeks, not that that's any excuse for bad manners, such as they were. But. ok, speaking of rumbly bebop left hands...Al Haig wasn't really a rumbler, but he did make more noise with his left hand than did the Buddists of the time, yes? And Dodo, when he was out there...yeah, Dodo in California, think that's a connection? Dodo never was a really "orthodox" bebopper. California bebop...still not fully considered in the general conversation, that's my perception. When it is, at all, it's some variant of "Central Avenue Scene", which, ok, 52nd Street as a parallel, but does anybody still think of NYC bebop in those terms these days? And really, in terms of basic geography, of what you see when you go outside, wouldn't LA engender a bit more rumbling than NYC? NYC seems more...punchy than rumbly. Just like Texas got that rambly thing. I do find it worthy of consideration that although Russ Freeman really "came to fame" with Chet Baker, Pacific Jazz, etc, that him and Hampton Hawes were operating out of a connected origin long before that new musical/social consideration jumped up into the discussion. Connecting the dots makes everything more sensible afaic. Nobody "stealing" or anything, people just came from the same place and then walked to different places.

Glad you enjoyed it! I went for waaaay too long knowing Doggett by just a handful of hits. A collection like this is what opened me up to the greater reality. So, you know, pass it on, as they say.

Sambuca is/was not a friendly place to work, unless you wanted to buy coke from a busboy). Their hiring/payment policies led to an actual boycott by most of the leading local players who were playing there, which is what resulted in its reimaging as a smooth-jazz place, and then, finally, a....whatever the hell it was they were doing place. Ask yourself this - when have you ever known local jazz musicians who had club gigs, ongoing gigs, aggressively bite the hands that feed them? We're talking demonstrations in front of the club and stuff. As a metaphoric illustration of the brand's evolution, when they first opened, the band ate free. Then the band ate free for any item under $15.00. Then the band could have a free appetizer. Then the band could get a 10% discount off of anything. Then the band got no discount on anything. Then the band couldn't even eat at all unless it was, like, an hour before the gig or something, and then you paid full price. It went from eating a nice dinner at break to not eating at all, because the food was not nearly good enough to pay that price for it. And then they started getting bitchy about too loud/too soft/too fast/too slow, the usualy club owner power trip. When it's an occasional thing, you figure they have a legit concern, but when it's a constant all night evry night, hey...assholes gonna asshole, right? As a literal example of the brands' evolution, the money got shorter as the gigs got longer. For a while, there, especially in the Deep Ellum location, there was some affection for the music and the musicians. The business model, once it became apparent that there was one was restaurant first, music there for that "sophisticated cache", and they had an eye for expansion, even franchising. All legitimate ends, of course, but as too often happens, when people decide to "expand", they shift towards a processed model, they start thinking not in terms of creating a consistently positive environment, but of just replicating a predictably consistent product, figuring that if people know they'll get the same thing the same way every time, they'll not worry about whether or not to come in, of course they will, they'll bring their dates, their bosses, their clients, they'll bring anybody they what, to "impress" because the food will be consistently mediocre enough to almost justify it being overpriced, and the music will be predictably "jazz-y" enough to not surprise anybody. As the concept evolved, the "jazz-" thing stopped being relevant, and here they are today: http://www.sambucarestaurant.com/home Dine. Dance. Entertain. At Sambuca, we think friends, family, food and fun are what life should be about. Our philosophy is shared with all who walk into our restaurants. Sambuca features savory new American food and modern cocktails that will tempt any palate and nourish the soul. Our nightly live music will engage our guests in the energetic vibe of the restaurant, reminding them to enjoy the simple pleasures of life. We throw a party---a really great party--for our guests every night! Business people frequent the restaurant for lunch; business travelers enjoy our upscale casual dining and entertainment; corporate and social groups take advantage of Sambuca's first-class event planning; locals stop by for happy hour and dinner; and weekend dance bands bring out the party people. Visit one of our rockin' locations in Nashville, Dallas, Plano or Houston. so, yeah, fuck Sambuca.

Long live the king!

Should any online obituary prove problematic, try AMG: http://www.allmusic.com/artist/bruce-langhorne-mn0000635087/credits

Well, thank you, that's what nobody really talks about, and you have. Most enjoyable!

http://dallas.culturemap.com/news/restaurants-bars/04-03-17-elbow-room-closing-gaston-baylor-medical/ Honestly, I didn't know you could see it when the sun was out. Maybe somebody forgot to turn the filtermagnets on, maybe that's how it's finally going under. If you have Live At The Meat House, you've been to The Elbow Room.

Old, but not yet elderly!

Wilma & Fred Betty & Barney Pebbles & Bam Bam

https://www.nytimes.com/2017/04/14/technology/robert-taylor-innovator-who-shaped-modern-computing-dies-at-85.html After earning a bachelor’s degree from Southern Methodist University in Dallas, he went on to do graduate work at the University of Texas at Austin. It was there, while working on his master’s thesis in experimental psychology, that he developed a fascination with new forms of human-computer interaction. His thesis research focused on how the ear and the brain localize sound. To analyze his data, he had to bring it to the university’s computing center, where a staff member behind a protective glass wall helped operate the center’s mainframe computer. The operator showed him the laborious process of entering his data and his program onto computer punch cards, the standard of the era. “I was appalled,” Mr. Taylor recalled years later in an interview at the university, “and after I thought about it for a while, I was angry.” The data entry process, he said, was “ridiculous.” “I thought it was insulting,” he added. Children using a Xerox Alto, widely described as the forerunner of the modern personal computer. Credit Xerox He left the Pentagon in 1969 and taught for a year at the University of Utah before joining the newly formed Xerox Palo Alto Research Center, or PARC, in California. There, he joined a small group of researchers who were refining many of the technologies that had been pioneered by Mr. Engelbart at the Stanford Research Institute and who were also creating new ones, including graphics-based personal computing. Mr. Taylor’s team built a prototype personal computer called the Alto, and another group, led by Alan Kay, added a software system that pioneered the so-called desktop metaphor, in which documents are represented by graphical icons on the computer display. That technology in turn became the inspiration for Apple’s Lisa and Macintosh computers and for Microsoft’s Windows software.

Roy was official, though! Made the 1960 Esquire Best-Dressed Man in America list! http://www.newenglandhistoricalsociety.com/george-frazier-best-dressed-american-men-1960/ ROY HAYNES — The thiry-five-year-old jazz percussionist belongs on any best-dressed list if only because of his taste in selecting clothes that flatter his short stature (five feet, three and a half inches). His suits are custom made (around $125 each) by the Andover Shop in Cambridge, Massachusetts. Buster looks sharp, though. I envy anybody who can pull of a yellow accent like that. I think there was a Von Freeman Steeplechase album where he was wearing a yellow tie, and I was seriously like, "oh hell yeah von, POP that yellow!" I can do it, my skin tone is too light for that palate to be happy. I wonder if Buster and Roscoe swap tips on where to go for the good ties?

I'm fascinated, genuinely fascinated, by how many people I don't learn about until I see their obituary. Interesting people who did interesting things that I may (or may not) have had interaction with, but never at they level of "somebody did this, but who?" Like the guy who died last year, who invented/designed the Solo plastic drink cup. That guy touched more lives more times than we have numbers to count them, I'm sure. And the reality is that, like most people, I have neither the time, interest, nor focus to keep up with all these people and all their accomplishments in real time. But when their day's work is done, it's nice to be remembered, right? And I'm glad to know who they were, what they did, and how I was touched by it. I'm glad to know that, just as I'm sure most of us would be glad to be known about when our day's work is done. Not forever, but just once.