JSngry

Anybody got a list of all the ECM New Series releases handy for sharing? Thanks in advance if so!

I heard a cut off his Christmas album (on Telarc) that I very much enjoyed, the phrasing of the melody was exquisite. If was going to have an Oscar Peterson record, I think that might be it.

John Scott Trotter The Harlem Globetrotters Laura Trott

Old Mother Hubbard John Bohn Bobby Bare

I will do my best not to die today. Or fart at home. Outside of that, EVERY day is Valentines' Day here at Mister Jim's house.

Good listening, plenty music to listen to.

Didn't want to further threadcrap the Coryell thread, but there are only two cuts that I know of, and hey. 1965. Proto-Fusion, not that anybody was paying attention at the time. And this, wow, this is really different. The rest of the album is ok-ish, but shit, what is all THIS? So, yeah, I tend to buy Chico Hamilton records, just because.

I tend to buy Chico Hamilton records just because. Really, just because. I can justify it by talking about thesound he gets out of his kit, or how his bands were always multi-layered, but really, just because. Sometimes they really suck, but this one does not. Richard Davis, FTW!

Plums are an intriguing fruit. Prunes, not so much, but then again, raisins and grapes, both working for me, usually.

I guess you don't believe in Shine either? (NSFW) Ready, Rudy!

And I'm wary of the whole "supernatural" BOOGABOOGA thing as much as anybody, but yeah, keeping an open mind to possibilities not yet "known" is not to say that what is known is wrong. It's just to say that what is known is that which can be proven by perception. If one chooses to stop at that, fair enough. But belief in superstition and not being convinced that we now know everything that there is to be known are not the same thing at all. We know that there is light which cannot be seen by the naked eye, but is still there (and can be used to benefit). I'd expect the same thing to be true of anything involving vibration, including sound. Humans are not the ultimate arbitrator of vibrational patterns, ok? That should create neither a quivery voodoo nor an overconfident datacentricity. I think it should just keep us moving ahead with equal parts confidence and humility. Good luck, humanity!

I wish (well, maybe not) I lived in a world where that mattered to me that much. It just doesn't. Not when I listen to records, not when I write, not when I play. Tone production alone, hell, feel is so important there. Two mouthpieces may sound "the same" when heard back on tape, but sound totally different while playing, because you got shit happening inside your skull and the rest of the body that might stay there. But they matter as far as what you hear inside yourself. It's very personal, and never tell a player that they sound the same no matter what, that it's really just a matter of which one is easier to play. Externally, that's essentially true, but internally, oh hell no. Ears? Hell, your jawbone gets some of those vibrations, your fingers get some of them, some of them come back from the metal of the horn, the rubber of the mouthpiece, the wood of the reed. If you can block it out 100%, you're either less than or more than human. Either way, it's a factor. It's deeply interior, intimate, and personal. Whether or not it's "scientifically measurable" or not is besides that point. If it ever stops happening, it would be disorienting as hell, and essentially require reprogramming of the brain. Either we are allowed our private, internal sounds to process as we see fit or we are not. You can have mine when you pry it from my cold bleeding ears.

I bought that Arnie Lawrence Project 3 (an Enoch Light label, if anybody's wondering) out of a cutout bin in 1971 or so, dug it for a few listens, then started getting annoyed by Coryell's total lack of focus. Kept getting worse, too. Traded it away ca. 1981 and didn't miss it until somebody sent me a CDr of it, like, three years ago. Then got to feeling all warm fuzzy nostalgic for the object, so found another copy of the LP, and...still bugged by it. I don't think it's that good of a record overall, although the Richard Davis/Roy Haynes hookup is endlessly fascinating. But there's more. soooooo much more. However...I think that The Dealer is a much more focused presentation of "that type of thing", although to be honest, Arnie Lawrence has never really done anything for me in general, his unanimously recognized beautiful humanity not withstanding.

I have also avoided social media, and feel better every day for having done so. Just not that much of me to be that much of that.

I don't know what humans can hear, especially if you widen the scope from "hear" to "feel". You got bones in your ears, you got bones all over. As far as I can tell, nobody's really looked into where all the soundwaves go, or what the senses really entail as far as how the brain processes all the different sensory inputs. Now does that mean I believe in "aromatherapy" and such things? No. But I do know that a good scent can be relaxing, and that the smell of smoke usually causes alarm. So...there's a lot of in-between between swallowing whole and not even tasting. So I recoil from anybody who tries to sell me a vaguery and somebody who tries to forcibly take it away from me in pretty much equal measure. YMMV, obviously, but this ain't your car, you ain't paying for my gas, nor am I sure we're even heading to the same destination, so...happy motoring to you from me, and, I hope, the same to me from you. all roads lead to...more roads. If they don't, just turn around and head THAT way.

My baseline of absurdity for data-based hearing stems from a corporate cocktail party gig where the guitarist and bassist spent the entire first set - about 75 minutes - playing about an eighth of a tone apart from each other. At first it was like huh? Then it was funny, then surreal, and finally, just...I checked out, mentally. Alcohol's your friend, at least for a little while. First thing on the break the bandleader asks these guys WTF? (that he played for 75 minutes before doing this is an absurdity unto itself), and lo and behold, these guys each had digital tuners that showed they were each perfectly in tune. They held them up for all to see, like it was some gladiator shit. And finally the bandleader said hey, here's a E tune to it. And lo and behold again, they were both out of tune with the piano! I'm not making this shit up. Point just being, yeahyeahyeah, data, tests, what not, but at some point, what you hear should be what you hear, not what your data shows you that you should or should not be hearing. Trust your damn ears for crying out loud. Just because it's not there doesn't mean you're not hearing it, dig? And yes, this anecdote is rooted in inconsistent control mechanisms, but still and all, trust your ears, and only worry about it if it fucks with your money, and I swear to god, if I had been the bandleader on that gig, it would have fucked with those guys' money. Then again, that guy always paid me in full no matter how..."expressive" I played on the later sets, so oh well. Still, trust your ears unless you have a foundation-shakeable reason not to. And when that happens, hell, stop listening.

Well, that's a highly compressed version of the master tape, but if it sounds good on your system, go for it! Gertrude & Heathcliff returning home. Fred & Wilma on the way now.

Ok, tell me how your creative process works, and I'll respect that as being your creative process.

And the art/commerce thing was prompted, or at least inspired by, my understanding of Allen's hostility towards being told that what he thought he heard wasn't there. There's a connection between trusting what you think you hear, or need to hear, and being able to create based off what you think you hear, or need to hear. so I got that. Totally. Not going to get into "defending" his manners of communication, but I do get the "trigger" here. Hell, I got triggered by it, and I really don't give that many shits about "audio". But for people who do hear things that aren't there (yet), yeah, like/understand it or not, the need to trust your impulses when going forward, that's a real thing. To "civilians", not really relevant, but to "artist(e)s", yeah, it matters. And yeah, maybe delusional though produces delusional music. so be it. Some of my favorite music can very easily be looked at as "delusional" at one or more levels. When you responded to me about that seagull thing that "you wrote", I assumed it was so directed, perhaps from having a listen to some of the clips from my soundcloud found in my signature. I've made no bones about what those are and are not, so, you know... If you were speaking to a general "you", then your intent was misread here, and no, no hard feelings. Gertrude & Heathcliff, otoh, are coming over to fuck you up.

Yeah, no matter where you go... But seriously, this whole thing sprung back to life from a quote of a statement I made a few months ago, that was more or less, iirc, in the defense of pursuing a path of playing original music, which in turn was more or less flowed out of a defense of Allen Lowe's all-around insistence on going with what he heard, methodology and all else be damned, and yes, Allen is a guy who has lived by that at a lot higher level of investment than I have, and I respect the hell out of that. I sluffed along and tried to play commercial gigs and original music in the same body, and that was fun while I was young and idealistic (as well as middle-aged and pragmatic), but at some point (probably when old & cranky started becoming the new normal)...the commercial gigs got worse and worse and at some point, you know, is this really worth it? Not for me. Fuck it. I dig Allen because he had the "fuck it" response looooong before I did, and he's got a life to show for it. So, props to Allen for consistency of vision, warmly jagged fuckoffs to anybody who is in the room with seagulls and complains about it when all they have to do is walk out, lunch in an hour, and sleep tonight. I don't know here we are, but that's where I am. Now having said all that, if you got a gig playing for dancers, like, a real gig with people who can really dance (or enjoy it like they really can), if it don't involve polkas all night (personal preference, not a value judgment), aand your band can tell the difference, call me. I don't care what the book is.

Yeah, well, that would be a mistake on their part, and besides, what am I supposed to do with that? Pursue adultery with women who get turned on by an image, not by a reality? Feed the lie, right, because the lie will feed you back. No doubt. All the more reason to stay home.

He might, but...those are a lot of words, and I'm sure he might remember some of them (I've remembered "Columinated ruins domino, canvas the town and brush the backdrop, are you sleeping" from pretty much the first time hearing it, I mean, those words with that melody, how do you not remember that, that's a fucking HOOK) but you know, next time you see Bruce walking down the street, stop him and ask excuse me Mr. Boss, what are the words to "Surf's Up", and when was the last time you played it? Remember what key? And have film rolling when you do. Pictures or it didn't happen! And don't be surprised if he says, hey, who am I, the fucking Wondermints? Now that's a band that could probably field a request for "Surf's Up". But that's their bag, right?

Do you really think he knows those words off the top of his head? Not that he should, I mean, I don't think he should. Point just being that "Bruce takes requests" is kinda like...well, sure he does. But from who, and so what? If you're a bar/wedding band (and whatever else that band is, they are, at root, that), you learn a lot of tunes that you know people will request. And if you're good at it, a lot more that people probably won't request but might, once in a while. This is not one of those tunes. Nobody requests "Surf's Up". Hell, not that many people know it. They might think they do when you say the title, but no... Not saying Bruce and the band couldn't whip up a rendition during a soundcheck or two and then "take a request", but just yell it out from the audience? Maybe, but...I doubt it. otoh, where are the Van Dyke Parks cover bands of the world? I'd love to drop into a bar and request "Jack Palance" and not feel like a fool! A diamond necklace played the pawn Hand in hand some drummed along, oh To a handsome man and baton A blind class aristocracy Back through the opera glass you see The pit and the pendulum drawn Columinated ruins domino Canvass the town and brush the backdrop Are you sleeping? Hung velvet overtaken me Dim chandelier awaken me To a song dissolved in the dawn The music hall a costly bow The music all is lost for now To a muted trumpeter swan Columinated ruins domino Canvass the town and brush the backdrop Are you sleeping, Brother John? Dove nested towers the hour was Strike the street quicksilver moon Carriage across the fog Two-Step to lamp lights cellar tune The laughs come hard in Auld Lang Syne The glass was raised, the fired rose The fullness of the wine, the dim last toasting While at port adieu or die A choke of grief heart hardened I Beyond belief a broken man too tough to cry Surf's up Aboard a tidal wave Come about hard and join The young and often spring you gave I heard the word Wonderful thing A children's song Child, child, child, child, child A child is the father of the man Child, child, child, child, child A child is the father of the man A children's song Have you listened as they played Their song is love And the children know the way That's why the child is the father to the man Child, child, child, child, child Child, child, child, child, child Na na na na na na na na Child, child, child, child, child That's why the child is the father to the man Child, child, child, child, child https://www.youtube.com/watch?v=fbIKxUcYoxQ