JSngry

Ok, I see how it is.

There's this: http://www.hmv.co.jp/en/artist_Hank-Mobley_000000000003743/item_Hank-Mobley-In-Holland_7643941 Never ordered from HMV before, anything I should know? 55 Records at HMV: http://www.hmv.co.jp/en/search/adv_1/labelcode_55R/ 'scuse my ignorance, but who is this label?

Just back from: Jaap van Zweden conducts Alisa Weilerstein cello TCHAIKOVSKY Variations on a Rococo Theme BRUCKNER Symphony No. 7 2nd time in a year-ish to hear Weilerstein, last year solo, tonight this. Not sure how "idiomatically correct" she is relative to Tchaikovsky (or if that is really relevant to this particular piece), but, yeah, bold, strong playing, fierce at times (especially during the cadenza), yet never overshadowing the orchestra nor detracting from the intricacies of the interactions. I'll see her every time I get a chance, believe me. Cello is da' bomb, I swear. I also swear that Bruckner is like a fucking staring contest. But one worth playing. And I swear (dammit!), there were more than a few spots where I was like, whoa, you could sample this part right here, loop it, and be off in Minimalist Heaven asap. But you'd have to blink to get that done, and in a staring contest, no, don't blink. I can't imagine what kind of a person/personality would write music like this, and I don't mean that in any kind of a negative way, just...curious. It's borderline obsessive/ramblling, but dammit, it holds together, all the time. Freaky in a very quiet way.

Room heaters, not car parts.

Not 100% acoustic!

I don't know, man, it might be animal sounds. I have a 45 of wounded rabbit sounds made for hunters o play out in the field, so look for that one, maybe. Or some music that sounds like that, hell, let's try that.

I like that he started out with Little Richard.

Well hell, sign me up for October then.

No. Why do you think they have this obligation?

Would maybe like to hear the backstory about how this gig came about, given Allen's, uh..."disagreement" with Wynton about minstrelsy and the big picture a while back. No matter, glad to hear that solid alternative views to the JALC orthodoxy are being given exposure within their confines.

Yep. And too many players are just as bad. True story - I was actually on a jazz gig in a bar where nobody wanted to hear jazz (or anything, really, there were, like, 5 people in there, 3 at the bar watching a ball game and one couple in a booth trying to make out), and the bandleader wondered what Beatles tunes we all knew, because "maybe that'll get some kids in here". This was within the last 5 years. I was like, duh, nobody wants us to be here, not even the owner, why not just play the fuck what we want, go out with pride rather than being cuckolded like this. But no, GOTTA KEEP THE GIG!!! So after throwing out all sorts of suggestions, the dude said let's do "In My Life". that one's got CHANGES! And this was, like, a $20 gig. 20 bucks and a free meal. There was a time...but that time is over, god willing. The best request of all time, that I ever got, anyway, was early on in the Quartet Out days, some really sweet young lady walked up looking half-drunk and half-bashful and handed me a napkin on which was written Girl From Ipanema Take Five Anything by Allnette Coleman "Could y'all play one of these for my boyfriend, he's a drummer and he really likes jazz". We had "Law Years" in the book, so I told her of course, we'd be happy to play one of these! So we did, and by then she was back at the bar chatting with her boyfriend (who was not paying attention to the band at all, but that was ok, priorities, right?) , but you know, clear conscience, sleep well at night, and have a story to tell (and I think I might still have that napkin somewhere). But you know, that boyfriend was a weasel. Had to have been. I hope she got out while she could.

I am not Ray Liotta. I am, however, Rey Loreto. Well, maybe not. Still working on that one. But I'm definitely not Ray Liotta.

Glad to hear that!

That would be the ultimate Dylan Sinatra tribute, just cover that whole album, same charts, everything. Just with Bob singing.

Hey, I have heard - and on the dance floor, seen - true magic happen on "Mister Magic". Not all that often, but, just sayin'...what was that Marvin Gaye song, "Got To Give It Up", right? That's all you gotta have is everybody giving. But too often, people on and off the bandstand come to take. Audiences, y'all just as guilty of this as musicians, y'all think we want it to be all about us, hell, y'all think it oughta be all about you, and I'm here to tell you fuck all that, let's have it be about us, everybody gives, then you get without having to take. Gifts exchanged, life is good.

and did what? Off him? Stuck a Leslie up his ass until he came around? What kind of getting to are we talking here? The guy's last name was Heany, that much I remember. First name Christopher, perhaps? For all the taunts he took, soooo many of them deserved, imo, I alwys appreciated his Caught In The Act-type reviews of what he had heard the night before, where it was, who was there,w aht they palyed, etc. Steve Reynolds still provides that kind of input here, and I appreciate it every bit as much. Ah, I see CJ recalls the full detail!

Oh, I have a "day job", have had for a good while now. I took those gigs because I thought I wanted to "play" at any price. Maybe I did for a while, you know, this whole thing about "a musician should always play anything anywhere, because that's what a true musician does", that gets deeply ingrained and casts itself as an existential crisis when called into doubt. And I dunno, maybe it's true. But maybe it's delusional bullshit. Depends on what "anything" and "anywhere" end up being. But no more, not for a few years now. Now, if the seagulls want to fuck, they will fuck and be happy about it, and nobody will look to get paid for anything other than that, if that...if it's really love, you know, there's no charge to fuck, although you still gotta pay for gas every once in a while. And when the seagulls don't feel like fucking, there will be no anxiety about it, because, you know, when it doesn't suck your soul dead, it energizes it beyond belief. I've had both, and am content. And now, ladies and gentlemen, it is with great pride that I present you my latest discovery, the song stylings of Gertrude & Heathcliff.

Well, yeah. Lovely as it was (and it was lovely), all I get is that he met his wife in 1993, made a record with her in 2003, formed a quintet, did a C.O.L.A. fellowship project in 2013, and had a long bout with emphysema (which really sucks). That's it really. Did the band work locally a lot, or tour, did he have a teaching gig, other than these once every decade events of not, what was he up to? I only wonder because his was a marvelous talent, although I thought his last impulse! work got a little too soft. But hey.

Liking the hows more than the whats...once again, ain't what you do, etc.

No idea how it all finally if ever sorted out, but for a while, you needed to have this one:

and rust never heals.

Do you guys not work in offices where people don't have earbuds on all the time?

Because that's what I want. What I want and what I get are not always the same thing. But one tries. And yes, when I play for a bunch of people whose sole "appreciation" of "music" is some impotent mélange of rancid nostalgia, faux-hipness, narcissistic entitlement and/or narscient horndogginess, and they expect you to be their human jukebox and wear a suit or a tuxedo, and play neither too loud nor too soft nor too fast nor too slow nor too happy nor too sad and to do it not do it all at once, yeah, all that shit costs. If it doesn't, hey, that's between you and your self-respect. And when the bandleader is the one leading the assault, hey - fuck that bandleader, fuck that gig, and fuck ALL that. And if they want/expect me to play "Creole" or "Round Midnight", I'm thinking, why do you think I should play those songs, do I sound like the kind of guy who lives to play that stuff? Do I strike you as the kind of guy who wants nothing more than to play still more of "Stella By Starlight" or any of those other songs where if you want to hear anything and everything that can be done to them just stay home and play records, where it all has been done? But no, people don't buy records, they're nowhere as hip as they think they are cool. so they expect a band to play their records for them, and then they can get laid or do a business deal or score some coke to get laid or do a business deal, or have pleasant background music while they eat their halfass Italian food and shit like that. I mean, it's a gig, sure, and sometimes that is all the gig is. But at some point, it's not about playing spontaneous, creative music, it's about being a goddamned record player for people who are too triflin' to buy records. And for me personally, the time when playing that kind of thing with good players - and especially with "good players" just to be part of a "jazz scene" that looks to do nothing but incestualise its already played out energies...I always need money, but I don't need THAT money all THAT badly. Don't call me for those gigs. I believe I've made that clear locally, and nobody does. So everybody's happy now, at least about that. Like I said, the really inspiring gigs usually don't pay much, if anything. But inspiration is its own compensation. That and helping seagulls fuck, because you know, people just get laid. Segaulls FUCK!!!! Also rewarding as hell - playing simple dance music for people who show up just to dance. But dammit, there's not that many of those gigs left these days.

And having fantasies about Diana Krall involving straps and radiators, things like that.

RIP Any clear documentation of what he's been up to the last 30 years or so?