JSngry

A Minor! Here's an Eb Minor, trumpet not having the same exploitation mechanics as tenor, but Ran Blake makes all keys work, like, at all times. Indeed, Jackie in F Minor, as noted. That puts the alto in D Minor, which is a good key for any saxophone.

Perpetual interior monologue: WHAT DO WE WANT? ALL THE MOSAICS!!! WHEN DO WE WANT THEM?? BEFORE THEY GO OOP!!!!!!! WHEN WE GONNA LISTEN TO THEM ALL????? uh....

That, I got. And totally am in agreement. Objectively, though, the guy's 47. Fats Navarro only made it to 26, Sonny Clark to 31, Leo Parker to (almost) 37. Jug made it to 49. As depressing as addiction is to look at (never mind the hell it is to live with and in), the options for treatment - and attitudes about addiction - are a lot more evolved and nuanced - evolved - than they used to be. Art Pepper made it to 56, Frank Morgan went to 73! And just remember - for every Roy Hargrove, who was blessed with an innate talent and a structural social system that recognized it and developed it, there's a buttload (at least) more of kids who have that much (at least) innate talent, no structural system that recognizes and develops it, and a cannibalistic environment that both blocks and tackles with an extreme, lustful vengeance. This kid here, he got lucky, somehow. And don't think he don't know it.

John Bunch John Lott John Gunn

Yeah, that cover is not likely to go out of style any time soon!

Roy's been dealing with this for a looooong time, I don't think it's any real secret. He's by all accounts a really good guy, but addiction doesn't limit itself to assholes, right? I'm just kind of lol-ing in disbelief that anybody would hear that a guy's strung out and their first response would be to go all PSA-ish about "Don't Mainline And Drive!!!", I mean, the disconnect there to me was really jarring. I miss this guy: Gloves like Anita O'Day!

I've spent a good amount of time over the last few years in the Ohio/Kentucky/West Virginia nexus, and you would not (or maybe would) believe how many doctors - real doctors - are handing shit out to patients who just walk in for "pain", some of it job-related, some of it just...bullshit. They get on a regimen and don't have to follow up or anything, just walk in and say "I'm here for my medicine", somebody asks them "are you still having pain?", they say "oh, yes", and out they go with either a script or, one time I saw, a couple of boxes of samples! It's disgusting, especially when everybody up there is blaming other people for there being no good jobs. Hell, fuckers, sober up, go back to school, learn a marketable skill other than just showing up most of the time, you know? I don't care how "great" America is going to be made "again", you prescription-enabled junkies ain't gonna be a part of that. We only get one zombie apocalypse in a life time. At least that's what I pray. Now, having said that, why is it that we can dispense "painkillers" in a semi-regulated, quasi-controlled, actually LEGAL process and environment, but a good, honest (if troubled), jazz trumpeter still has to resort to illegal street drugs? As far as driving, the people up in that area usually had somebody driving them, because, you know, they're in so much "pain". So, not really worried about hillbilly prescription opiaddicts driving into a school bus, or some other scare-tactic bullshit. Plenty of drunks got that in their pocket. But heroin? Junkies? Street drug, shooting up JUNKIES? THIS is a public safety driving issue to be addressed head on with full vigor and rightness of purpose? In what fact-constricted paranoid-distorted universe is this occurring? Ours, apparently, but...that's only gonna work until it doesn't. Make the roads safe, round up the junkies and take away their driver's licenses. Yeah, that's a GOOD plan....

Yeah, I'm serious. Why you're worried about heroin causing a cocaine-related driving incident is what I don't get. If there's speedballing involved, it's the coke that will enable the driving. sure ain't gonna be the heroin. Does it sound like Roy Hargrove is speedballing? When cocaine is injected in combination with heroin, sometimes called "speedballing," there is an increased risk of toxicity, overdose, and death. Uh, ya' think? Wow, who'd a thunk it? You know what's a real risk? These idiots who get pumped up on Red Bull and Monsters all day long and then go blowing through congested traffic in a rage, honking and weaving and being pissed of that they can't drive 70 at a red light. Hell, those guys could use some heroin. But not until they get the Red Monster Bull out of their system. Not until. They need to sit down, shoot up, nod off, and stay the fuck out and off of the public thoroughfares. For that matter, them and the drunks should have their own dedicated highway system. Call it the Thin The Herd Expressway.

Well, ok. I'm of the opinion that concern is most effectively directed at reality rather than perception. Yes - people driving while high (on many things, including alcohol and caffeine) is not in anyway a non-concern. It's serious, it's dangerous, and it's real. But... No - that lady who ODed in that car wasn't driving anywhere now, was she? Even if she hadn't ODed, she was not gonna be driving. Heroin, not really a truck driver's favorite, if you know what I mean. So, as it specifically pertains to Roy Hargrove, the comment When he gets high in his car and kills or maims someone... just doesn't seem a reality-based concern to me. Yes there are junkies, and yes there are people drive high. But do junkies drive high? Is this really a problem, or is this the combining of two real concerns into one illusionary single "problem"? If Roy Hargrove had been coked out and driving, yeah, worry. But what's being reported here is that he was likely smacked out in a pretty serious way. That cat ain't drivin' nothing, except himself to the grave, and it ain't gonna be in a car that he does that.

So....about 30 minutes worth of tenor-drum duets followed by about 13 minutes of "treatises", spoken explanations of the the whys, and especially the hows, of the music. The packaging doesn't have room for written liner notes, but the CD does, spoken liner noites. And these liner notes are really about the technical details of the music, modes and intervals and root movements. I appreciate the seriousness and sincerity, but really....this has all been done before, and really, all talked about before. Seems like this much of a mind could be put to use for a more forward music. But oh well, I like the title and I like the cover, and good luck.

Yeah, I get it. But there's a lot of drugs that affect you a lot of ways. Heroin is not really a driving drug, if you know what I mean (nor is it mentioned on that site). And a really smacked out junkie has a hard time getting up off the sofa, never mind finding the keys, never mind getting out to the car, never mind getting into the car, never mind turning the key, etcetcetc. I mean, I've known some guys who would drive to score, but once they fixed, they weren't going anywhere. Driving is an intrusion, and the object of the game is to eliminate all intrusions, period. Don't get me wrong, Mr. Hargrove seems to, no does have problems, but being a liability behind the wheel is going to be waaaaaay down the list, if it's even on the list.

You know a lot of driving junkies, do you?

https://www.nytimes.com/2017/04/03/arts/gary-austin-dead-groundlings-comedy-troupe-founder.html Mr. Austin was a sought-after teacher whose relatively low profile outside the entertainment industry belied his broad footprint within it as the founder of the Gary Austin Workshops and the Groundlings Theater. Many of their alumni became big names in comedy, some starring on “Saturday Night Live.” They include Will Ferrell, Phil Hartman, Lisa Kudrow, Pat Morita, Jon Lovitz, Kristen Wiig, Kathy Griffin, Helen Hunt, Melissa McCarthy and her husband, Ben Falcone. Bill and Cheri Steinkellner, the writers and producers of the sitcom “Cheers,” were also products of the Groundlings. And so was Paul Reubens. Mr. Austin helped him develop the anarchic character Pee-wee Herman in the 1980s and even provided him with his gray suit. Mr. Austin was born Gary Moore on Oct. 18, 1941, in Duncan, Okla. He grew up in Oklahoma, Texas and California, where his father worked for the Halliburton oil company. His parents were Nazarene Christians, and Mr. Austin told an interviewer in 2015 that his first childhood exposure to theater happened at church. He later performed two solo shows based on his childhood, “Church” and “Oil.” A children’s theater in Corpus Christi, Tex., and the radio performances of Gene Autry and Roy Rogers rounded out his early experiences with the performing arts, he said. “I wanted to be three things when I was really young in Texas: I wanted to be a preacher, I wanted to be a singing cowboy and I wanted to play center field for the Boston Red Sox,” he told the interviewer. “My aim is to be totally present in the moment, and when I’m totally present in the moment I can do no wrong,” he said in 2015. “That’s a feeling I like to have, and I have it sometimes. If I had it 100 percent, I probably already would have gone off to heaven and would be enjoying eternal life.” His survivors include his wife, Wendy McKenzie; a daughter, Audrey Moore; a sister; two brothers; a grandson; and three great-grandchildren.

Katy Feeney, Baseball Executive Who Oversaw Scheduling, Dies at 68 https://www.nytimes.com/2017/04/03/sports/baseball/katy-feeney-dead-major-league-baseball-executive.html?_r=0 Major League Baseball announced her death but did not specify a cause or where she died in Maine. Baseball officials said she died in her sleep and had not shown any sign of illness. She lived in New York. Born in 1949, Katy Feeney, a graduate of the University of California, Berkeley, had worked in a variety of jobs — as a waitress, a teacher’s aide, a gas station attendant and a probation officer — when she joined the National League.

Nat's got it in D Minor Trane will do E Minor. Tenor. Miles in G Minor.

Oh hell, listen to it ALL!!!! Now THAT sucks!

All the more the point - if they were contemporaries and were hearing the same things, roughly, there would be some overlap of some kind. I don't hear any. Frankly, I'm trying to think of any vibes player I listen to with any even semi-regularity who carry an over Burton influence, I can't think of any. Which is not to say that he has not had a huge influence, I'm aware that he has. It's just that he's influenced a bunch of people I don't listen to, I guess. Also...between Walt Dickerson, Earl Griffith, and Al Francis, there was already a counter-Bags thing developing before both Hutcherson and Burton. Never mind what they were doing with and to the instrument over there in the avant-classical world, those guys just didn't give a damn about what you were supposed to do with ANY instrument. Don't want to diminish Burton's skills, which are rich, nor his voice, which has been unique. But as far as "influence"...in my world, not so much. When I got into things, the RCAs were all out of print, the Atlantic stuff, with the exception of the side with Jarrett, seemed unnecessary (and the album with Grappelli absolutely vomitorious, although that's as much or more on the violinist as it is anybody), and then the early things on ECM which still remain compelling. And then, I stopped hearing anything relevant to anywhere I was going, and haven't really since. Having now had a chance to hear the original RCA Quartet records, though, I dig them. Now. didn't hear them then. And I do dig a comment that Burton made at one point that people who heard Beatles records were going to be incapable of playing like they hadn't, which is a very solid point that has played out in any number of ways (as it has with Ornette, Cecil, Trane, Roscoe, the list goes on).Just saying that for me personally, Gary Burton has never been a primary voice in my head, or even a primary secondary voice. He's a guy who was always there and who made a few good records that I listened to when I thought about them. I just didn't think about them all that much. Still/But - I do get that he's had a lot of musical/personal identity/pride differences which he has dealt with as strengths to be built on instead of obstacles to try to walk away from. No doubt, that accounts for his chippy attitude about a lot of shit, but hey, go for that, always be true to who you are, But that's a different thing than do I really like his records all THATmuch, ya' know? fwiw - Jamal is 3 years younger than Burton, but didn't start playing until the mid-1960s, by which timeBurton was a known name among players. Duster was out in 1967, so there would have been ample opportunity for a young vibist such as Jamal to "hear the call" if there was a call to hear.

Khan Jamal, another one who has escaped Burton's influence!

whatever happened to Jay Hoggard?

http://etd.lsu.edu/docs/available/etd-0903103-141852/unrestricted/Chapter2.pdf

No.

There you go, full circle. Excellent!

That's made with cheese, right?

How was the food? Did you try the veal?

Is there a theme to this presentation?