JSngry

You may be right about release order. I really am cloudy on that. I do remember the gap between sending payment and receiving product, though.

Really wonder who's in this 1947 Andy Kirk band besides announced tenorists Ray Abrams(!) & Shirley (sic) Green. Some speculation here: http://jazzdocumentation.ch/john_young/young.html Rene Hall gets a screen credit as "music by" or some such, so that's most likely him on guitar, but everybody else? This is really a history lesson hidden inside a very low-budget movie!

I love Selects.

Oh, you wanna go there, eh? Ok!

Right. I remember being on board with Mosaic - paying for the Monk - from the beginning. Even before they even had product ready. There was a delay there that was, uh...uncomfortable, But I seem to remember that that first release, the first wave of advertising, was the trio of Monk/Mulligan/Ammons-Lewis. I can tell you that my want was to get all three, but my money only allowed for the Monk. I could be off on this, but that's my memory.

Used to be able to drive past the Mrs. Baird's bakery off of Central and smell the bread baking in the early AM. MMMMMM!!!!

If memory serves, they were all three released concurrently...am I mis-remembering that?

His death was announced by the company, a Mexican conglomerate whose trademarks now include Wonder Bread, Sara Lee, Entenmann’s, Thomas’ English muffins, Brownberry, Boboli and, in Britain, New York-brand bagels. “Today, if you buy Arnold bread in the East or Orowheat in the West, Freihofer in Pennsylvania or Mrs. Baird in Texas, Stroehmann’s in the mid-Atlantic or Old Country in Arizona, not to mention Roman-Meal, Sun-Made and Francisco sourdough, it’s Bimbo,” Aaron Bobrow-Strain wrote in “White Bread: A Social History of the Store-Bought Loaf” (2012). https://www.nytimes.com/2017/02/06/business/lorenzo-servitje-a-founder-of-the-worlds-biggest-bakery-dies-at-98.html?emc=edit_th_20170207&nl=todaysheadlines&nlid=25913738

Whenever somebody asks if somebody can "carry a tune" or some such, it's more than fair to ask the if they would be able to recognized it if said tune was in fact carried. A lot of times, people complaining about faulty output are really suffering from limited input mechanisms. Besides, why are "tunes" supposed to be "carried"? Or "bars" supposed to be "raised"? That's, like, a labor/management metaphor.

And that goes the other way as well, this fantasy world of assumed if/then.

Is Franz Jackson on here anywhere? Or Budd Johnson?

To my ears, it loses a little steam as time progresses, but the first 2/3 of it is some archetypal full-blown Herdiness, so if you like that kind of thing (and at this level, I more than just "like" it), it's an essential purchase. That shit be DRIVING! A working band that had time to gel in a deep way.

Super Bowl Sunday, the usual facts and disclaimers set in Roman Numerals, let's play! TRACK ONE - I liked the alto player a lot at first, but less as it went on. Seems like it got more Phil Woodsy. And Woodsier. To the point that it moved from shared influence to outright copying. But very fluent player, really speaking the language, and the rhythm section is in it. Apart from the Woods things, I liked the spunk and full-frontal approach. TRACK TWO - Scott Hamilton? The tune is maybe familiar? Like one of those "swing-to-bop" type things. I can't get with the chink-chink-chink-chink thing that the guitar (are there two, btw?) seems to favor. But otoh, everybody's playing. If I was walking past, I'd stop in and have a drink. After that, no promises, but hey, they got me for the one. TRACK THREE - Shepp/Parlan. I'm guessing that Dan came for Parlan, stayed for Parlan, but was not unhappy with Shepp, right? For me, Shepp is great when he's great, boring as hell when he's not, but when he finds the right "dramatic" platform, he's exquisite. And I think he's exquisite here. Horace Parlan is Horace Parlan, so yeah, guaranteed. TRACK FOUR - That's Ben doing "Johnny Come Lately". One can never hear too much Ben, no matter who else is with him. This is a good rhythm section, but that alto player...no thanks. My guess is that it's this: https://www.dustygroove.com/item/812424/Ben-Webster:Ben-Webster-Meets-Piet-Noodrijk-Johnny-Come-Lately-Live-In-Groningen-1973 TRACK FIVE - That's one of those songs you want to get rid of, but when the time comes, you just can't. "Please don't talk about me when I'm gone". I like this alto playing, the tone, the phrasing, that tarty vibrato that never goes overboard, too corny to be hip and at the same time to hip to be corny. I like a motherfucker who refuses to take sides! I like the trombone too. This sounds like something I've heard coming out of the Dick Gibson Jazz Parties, very un-self-conscious. OH SHIT - This tenor player sounds like ROSCOE MITCHELL!!!! Is it Al Cohn? I mean, that might be the most unintentionally non-sequiturish thing I've ever posted, but the thuddy, overblown attack (all on purpose, of cours), it sounds like Roscoe. And Al. I could be persuaded to but this record if it's all this good. And listen to the rhythm guitar behind the trumpet. ching-ching-ching-ching, not chink-chink-chink-chink lie the other guy. One is a plush carpet, the other's a slasher film. I very much like how everybod's on the same page here. Not just on the same page, but reading at the same pace. TRACK SIX - "Broadway", sounds like a private recording. That first guy REALLY sounds like Buddy Tate. The second, kinda like Zoot, but not really...sorta non-descript. Picks up after a while, because Buddy Tate kinda forces the issue! TRACK SEVEN - King Curtis. Took me a little while to figure it out, mainly because of the vibrato, but then he hit one of those high notes, and yep. This is beautiful. "Caressing a melody" is such a cliche, but that's what he's doing here, caressing it, tickling it, giving it a little pinch, a little nibble, a little lick, a littel push, a little pull, you know, sexing it.And he knows you're watching. TRACK EIGHT - "Sister Sadie", by some heavy-ass toned, guitarist. Somebody who's heard Tiny Grimes and paid attention to the finer points. But then there's that hillbilly stuff in there...Lenny Breau? Not feeling that drummer, sorry. If I was passing by, I might stand outside for a few minutes, might not go in for a drink, depends on the waitresses. So take notes, kids, take the gig at the joint with the cutest waitresses. Don't ask why, ok, just do it. TRACK NINE - Marvin & Johnny would be the ones to answer this question. But they're not here, so I'll go with Gene & The 3 Sounds. I swear to god, this guy always walks right up to the very edge of Oscar Peterson bullshittery and never, never crosses over, I love him for that. That, and that this was one helluva good band, a real trio. There were arrangements, sometimes overt, sometimes subtle, but it was a group effort, always. Hell, I'd have a drink or two, even if there were no waitresses. https://en.wikipedia.org/wiki/Hey_There_(album) TRACK TEN - Was this sourced from a cassette? Not at all opposed to these "type of thing", but this specific example...not doing too much for me. Maybe it's the drumming. There's no breath in the time. TRACK ELEVEN - And now, for something completely different.. TRACK TWELVE - "Moten Swing". I like this. It's oddly Brubeck-ian, yet curiously Hines-ly, a pungent bouquet with an iridescent finish...I'll take a case, please, of gallons, if you have them. That's some Secret Society Sauce, nobody gonna play like that unless they KNOW something. TRACK THIRTEEN - Bill Dogget? Billy Butler? Bubba Brooks? No matter...we can effectively play the "eventually it all starts to sound the same" card here, but we can also play the "well, not really" card every bit as better, and that's the one I'll play here, because of details, little details. So, card played. I like it. Again, a very consistent presentation, much to enjoy, nothing to wholly abhor. For free tunes, hey, ain't a better deal to be had, right?

Still and all, Lee Allen FTW!!!

I( wonder how he's set for 45s? Lee Allen FTW.

This.

Actually, put me down as somebody whose tastes (and instincts) in so-called "free jazz") very much take inspiration from all the things that one could hear in - and take away from - a Little Richard record. Put me in the room with any of those so-called "avantgarde jazz "traditionalists"" who find that problematic and I'll call bullshit, and call it collect. Thing is though, I've never really run into any of those types in the so-called "free jazz" world, the people I run into who are less likely to dig a Little Richard record are the "formal jazz" types, the ones who are all about centered tones and fully extrapolated chord/scale relationships, and totally digital ideas about time/precision of beat, etc. Where I live, those types aren't so much into the sweaty, juicy, sliding have some fun tonight of a Little Richard record. But...how are things in your town? The thing is, though...it's all good, really. Or at least it all CAN be good. Should be good. But this, hell yeah, this is good. You can either be a cartographer and map out all those cracks, or you can be an explorer and never mind mapping them, just get down in them and feel your way around. Or hell, you can just be a native to either and do what comes naturally to where you are.

Well, honestly...I think he kinda went through the "flavor remover" that seems to have (in my mind) followed around both Helen Keane & Concord Records, but not always, and even so, there was enough before that to pay attention to, and still is. I mean, jesus, Hustlin', is that not one of the all time great comp records for both Burrell & Scott? And that's just the comping!

Word! It settles down eventually, but not before Han & Sonny get into a no-holds barred battle of the wits.

Teddy Wilson Willie Ruff Ann-Margaret

YouTube and Ambien, that's how I do it these days.

Horace Parlan Harlan Leonard Hal Leonard

Oh, Kenny Burrell "took" early for me, helped on by getting to see him live at La Bastille in Houston one summer. But the guy was on a buttload full of records and got beaucoup radio play, so, yeah, he was one of those guys "in the air" of the early 70s, you'd have to try harder to avoid him than you would to find him. And that Cool Cookin' thing...I showed up with that in tow as a freshman and was plying it a lot, and people would come by and say hey, who is this guy, no bullshit, no frills, just tasty playing, and I'd say hey, Kenny Burrell, see? And they'd be like, hey, I gotta get this record. I don't know if any of them ever did, but you know, KB was not hard to figure out, right? Tasty, efficient, substance without bulk, if it was a sandwich, you could eat it all day if you wanted to.

And if they run out quickly, you got me covered, right? Who's my buddy, who's my pal? But seriously, I see the release date is not until April. Not knowing this company or this label or what the future holds in terms of exchange rates, I am hesitant to just preorder and que sera that shit, you know? OTOH, that YouTube clip sounds DAMN good to me.