JSngry

Polka Dottie Poison Zoomack Mr. Deetle Dootle

If you like Oliver Nelson, it's a great way to get a lot of it. None of it is his really lowest-tier/hack/deadline work, and a good amount of it is outstanding - IF you like Oliver Nelson's writing. I love Oliver Nelson's writing, so I bought it more or less when it came out. Keep in mind that I love listening to different big bands as orchestral music, the inner parts, the ensemble/section work, all the things that come with performing written music. I've had occasion to play a few of Nelson's arrangements, so I tend to listen to the waaaay inside parts and LMFAO, it's so good what he does, the choices he makes. Not everybody listens to big(ger) band music like that, though. If you tend to hear Oliver Nelson's writing as sounding more or less "all the same", then it's still a great way to get a lot of it, but what the "it" of it is might not be the same for you as it is for me. So....proceed accordingly, I suppose. all I can tell you is that Oliver Nelson was a baaaaaaad man.

Listening to this a few times today, and am finding it quite engaging. Eric Mingus is no slouch, and David Amram is first-hand. The obvious antecedent here (for me) is Weary Blues, and I think this new release is a lot more fully realized as "jazz poetry" (whatever the hell that is?)...it should be, time has passed. Anyway, I bought out of curiosity and feel rewarded.

I'd be tempted on the Clooney, that kind of organ sound is not unfamiliar to me, from all sorts of late 40s/early 50s "white" pop, and I'd love to hear her sing good songs unfettered by Mitch Miller's ideas about what would make them more sellable, she was a really fine singer when left to her own devices, but...I gotta get the Hines & the Lunceford first. And in the end, I guess you can find all kinds of singers doing all kinds of versions of all kinds of those songs, and I'm not really looking to go there right now. However....seems like it should be a really fine collection of good songs well sung, and I think I'd like it if it was free or something like that.

These dudes be trippin'!

Better back than down.

I'll be listening to the band, no matter if there's vocals or not. I'm thinking that it's time for me to deal with Jimmy Lunceford, period.

See what you think: http://pancocojams.blogspot.com/2014/07/lord-invader-sly-mongoose-information.html

Kill the animals! Kill the clowns! Eat them all! But leave the cotton candy alone. That shit'll rot your teeth out.

Nathan East Paul West Harvey Gulf

I've enjoyed maybe more than my fair share of disco, is that post-rock?

Charles McPherson!!!!!!! These are usually lecture-only, and the questions are usually student-level, but you never know...and occasionally there is a little playing. Sam Rivers played a little when he did his.

Fine singer whose material was quite often uplifted by her superior abilities.. I've listened to her a lot, although not in a long time. Frankly thought she was already retired, or at least semi-retired.

Unexpected post-Christmas shopping required, but Hines & Lunceford can't get away!

Might be interesting to hear Kremer's tone through the ECM perspective. In fact...just pre-ordered from Amazon.

not that I know of...

Willie Stargell Long John Silver Captain D

Dusty Groove reissued the Gene HArris: https://www.dustygroove.com/item/623810?sf=gene+harris&incl_oos=1&incl_cs=1&kwfilter=gene+harris&sort_order=artist

Trevor Lawrence was the unheralded star of the Trouble Man ST, imo.

Definitely a voice and a spirit. R.I.P.

Judy the Chimp Judy In Disguise Judi of Croix

Order and/or inquire: mode@moderecords.com LANGSTON HUGHES "The Dream Keeper" mode/Avant 17 CD $14.99 ON SALE FOR $12 UNTIL JANUARY 25th! CD quality download $12.00 Featuring: Eric Mingus, voice David Amram, piano Larry Simon, guitar, music director with Groove Bacteria: Don Davis: alto saxes, clarinets; Catherine Sikora: soprano sax; Cynthia Chatis: Native American flute, flute; Scip Gallant: Hammond organ; Chris Stambaugh: bass; Mike Barron: drums; Shawn Russell, Frank Laurino: percussion Langston Hughes (1902–67) was an American poet, novelist, social activist and playwright whose work showcased the dignity and beauty in ordinary black life. His African-American themes made him a primary contributor to the Harlem Renaissance of the 1920s. The hours he spent in Harlem clubs affected his work, making him one of the innovators of “Jazz/Poetry.” Hughes’ poetry is still powerful and contemporary today. The Langston Hughes Project came from jazz guitarist Larry Simon, who is the founder of JazzMouth, a unique festival in Portsmouth, New Hampshire that combines jazz and spontaneous music with readings by some of the finest poets. Half of the poems are duos with Mingus and Amram. The instrumentally varied balance of the album are Mingus duos with electric guitar or Hammond organ; with woodwinds and percussion or with larger ensembles. Hughes’ texts are brought to life by the rich, soulful delivery of Eric Mingus — son of Charles Mingus. For some years he worked as a session musician and backing singer, playing on dates with artists such as Carla Bley, Bobby McFerrin and Karen Mantler. He has also performed with the Mingus Big Band, Elliott Sharp’s Terraplane, Todd Rundgren, Elvis Costello, Nick Cave, Catherine Sikora and Levon Helm, and a featured performer in many of Hal Willner’s projects. Simon also brought David Amram — composer, conductor, multi-instrumentalist, and author — to the project. As a classical composer and performer, his integration of jazz, folk and world music led him to work with Dizzy Gillespie, Lionel Hampton, Willie Nelson, Charles Mingus, Levon Helm and Betty Carter. Amram has composed more than 100 orchestral and chamber music works, and written many scores for Broadway theater and film, including the classic scores for the films Splendor in The Grass and The Manchurian Candidate. Amram collaborated with Hughes on his cantata Let us Remember, premiered at the San Francisco Opera in 1965. Importantly, Amram gave the first ever public jazz/poetry readings in NYC in 1957-58 with Jack Kerouac, the spontaneous creation of words and music which came to be known as “jazz/poetry.” And jazz/poetry is what “Langston Hughes: The Dream Keeper” is.