JSngry

Just Hardbop.

Yeah, sure, "people" "like" "standards" because they're "good music". Now, what does that mean, really? The offspring of the two fucking seagulls are looking forward to your answer. You know how restless kids can get.

Yeah, those "gut feelings" are great when they work, but horrible when they don't, and it seems that people admit to them more when they do. And yes, "instinct" is a real thing when it IS real, but does anybody want anybody running anything based solely on instinct? If I was a fan of a team that straight-up said, hey, fuck all this analytic shit, there's no place for that in OUR group, then, yeah, I don't want that. It's not that I don't want people who have good instincts not following them, it's just that I don't want to be involved in any effort that doesn't use every tool available, including advanced analytic. The reliability of this stuff has in no way been proven absolutely, but the longer it goes on, the more traction it gains, and the more refined the methodology becomes. And it should be noted that any estimate of future performance that stands even half a chance of being worthwhile more or less has to based in a very large part on what actually has already happened, because if it's not, then it's not a sound estimate, it's just a lot of emo pimpiness that somebody pulls out their ass, e.g. - a guess.

The Del Rubio triplets The Haden triplets The Creel triplets

And girls just want to have fun.

Make sure Wayne gets half of that hamburger, ok?

http://www.astrosdaily.com/audio/63asproboy.mp3

The Chicago Yestet Luigi Nono Nanette

Not for me, they're not.

I've taken the liberty of modifying the thread title to reflect that answers are now present within this thread.

The only Elliott Lawrence is the record of Mulligan charts. I might want to get this one as well at some point, that was a nice band.

Also, seems that more people went out dancing then. Adults, kids, even livestock, poultry, and marine biologies! Point just being that music was perhaps engaged more "actively" than "passively" back in yon days of yore, in a social sense. Not just jazz/listening clubs/bars, but sock hops and beer joints, live bands and/or jukeboxes. People too damn cool to go dancing these days...too cool or too old. And maybe that resulted in people buying reocrds for the house? Because, you know, every damn body has a googalillion tracks on their phones today, but you know, you go down into the basement with a chick or a buddy, and there were the records. Some were the parents' records, but the kids had their own records and the kids OWNED that shit, you know, they'd put their names and romantic proclivities on the label of a 45 or on the back of an LP. People got Facebook for that shit now, not 45s. But that's all old news, not today's headlines.

Maybe, probably, but otoh, there were a buttload full of local/regional labels serving very specialized markets. Plus the majors had NO idea whatsoever about what was going on with the crazy kids, so they were recoding anybody and everybody. If you lived in a less urban area like I did, there was always some AM station who for whatever reason at whatever hour would play things you never heard before or since, hardly any of it any good. So, product was being made, a lot of it. But how much, I don't know. I'll find all sorts of "ethnic" records in the crates that no doubt had zero radio exposure for somebody like me, but I guess there was a market. Yiddish, polka, Alpine shit, Spanish...it seems like if the people was here, somebody made records for them to buy. Where they bought them is anybody's guess. The market may have been just as saturated then, only maybe it was markets, plural, and maybe the social/media segregations/isolations hid it better than it does today. Then again, maybe not?

And jukeboxes were 45s too, so one record - literally - could return beaucoup bounty. "Singles" today are downloads. But you don't get a flip-side, which is a drag, because we all know about the Cult Of The Great B-Side. Hell, count me as a member! As for the oil field, I don't think there was any asbestos exposure. this was East Texas, and we were roustabouts. What we did was drive around from lease to lease (that's the way it was/is, people would lease the land to the oil companies) and do mechanical repairs, maintenance, pick up trash, cut weeds, etc. If there was a leak, we fixed it. If there was a spill into a pond or anything, we cleaned it up. I remember one time we ahd a spill in a biggish pond that required that we wade out into the pond past waist-high, cast straw onto the water (straw contained the oil) and then bring the straw ashore for disposal. So, you know, a day spent up to your chest in water and crude oil, that's money well-earned, imo. And some of the guys came out of the water with leeches. They'd done this before so it was no big deal, but I was like, oh NO, PLEASE Lord Jesus, keep the leeches away from me. That seemed to worked, because I came out of it leech-free, but, you know, guys were getting them in some pretty personal areas, if you know what I mean. Anyway, some days were easy, some days were hard, every day was hot, but I think everybody needs to have a Meaningful Life Experience with honest-to-god dirty, physical work, because that shit is ANALOG, you know what I mean? I'll put it this way - the phrase "pipe dope" still has two distinct meaning to me, and your hands haven't really been clean until you've used waterless hand cleaner.

The first couple of Ari Ambrose records, I kinda dug. The more there were, the more they all started sounding alike, but the first few were fun, and I do hope he's doing well.

Market saturation of today? I've said it before and it bears repeating- you could buy records damn everywhere. This was at the intersection of Teenage Buying Power and Main Street America pre-Wal-Mart. I lived in a town of <7000 people and off the top of my head, I can think of 5 places within a 15 minute bike ride that sold records. Rack jobbers RULED! Dude, I had one summer where I bought a $3000 stereo system and still had more than enough money in the bank to make it through a school year. So yeah, I was doing well with them summer jobs. Also did hot, dirty, physical work for the money, and am still thankful for that experience as well as the money. Hell, I still know how to thread pipe and flange tubing! And let's talk about 45s, because a LOT of people bought 45s, remember. The first single I remember buying was in 1966, a Beatles thing, and it was at or around 50 cents iirc. Can't recall when they hit the dollar mark, but I think I might have been out of high school by then.

The big deal at the Denton Sound Warehouse was that they would order the entire catalog of one jazz label and then have a 30 day sale where everything was $2.98. This was ca. 1974-75, when list was, iirc, $4.98, soon to go up to $5.98, and then onward and upward. My summer job in 1974 was working at a clerk in a liquor store, and I think I was making, like, 5 bucks an hour? Summers after that I did roustabout work in the oil filed for Texaco and was getting 15/hr, iirc, and that was damn good money for a summer job. That was what dudes with families and shit were making. Honestly, I can't recall wages for straight jobs back then. I just know I'd make it in the summer and then go back to school and make it last, and always with a healthy budget for records built into lifestyle expenses. Once used record stores started popping up, that budget went a lot farther.

This band was a hoot!

"I need moral support, Teo".

Finally getting to this today. Having a blast listening to Ron & Tony ("Art Blakey time!") figure out what the hell they're going to do with "Freedom Jazz Dance", with Herbie every so often commentating and Wayne just playing the head while Miles finally says "I can't play this". And then to hear the final take, yeah! As far as repeat-listening value, hell, I don't know. How many times do you really "need" to listen to a rehearsal? But that's not a really relevant question to me, to me it's more like when I do listen to it, is it going to be fun and inspiring? I can tell already that this one will be. Especially inspiring, the way they just get a tune, sorta/kinda know what they're going to do with it but not REALLY, and just throw shit out there to see what might click...that's the type of rehearsals that are either fun or hell. Fun when you got smart people suggesting possibilities, hell when nobody has anything to bring past clichés. And you know what type of a band this one was!

Who the hell is that drummer?

Dookie was that cat who claimed to be the unloved and unacknowledged illegitimate son of Ornette, who he in very, uh, vernacular terms alleged was gay. He was very intense about it, and his hatred for Ornette and his music, but really, it came off more like a high-concept riff than anything else. This was back in the BNBB days, iirc.

That sucks that you lost your byline, I just did one review for them, in 2002, and it's still there, review and byline. I feel lucky? https://www.allaboutjazz.com/vocal-blues-and-jazz-volume-four-1938-1949-various-artists-document-records-review-by-jim-sangrey.php

Nothing's wrong! I've had contact with him. Really, he's busy making things, getting product ready. Look for some new releases forthcomingly, and I would expect we'll hear it from him.,