JSngry

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.

"You Took Advantage Of Me"? No, that's not it. Different bridge. So, I will not be will be first with the correct answer.

It's a discussion about a discussion about the book. The book itself, and Bob Porter in general, still have my unqualified recommendation.

I think about a decade ago, there was talk that some Lou Mecca and or Urbie Green 10" thing remaining, and I think that's been taken care of somewhere? Between Japan, Mosiac (particularly the Selects). I think we may be done here as far as the Albert Lion LP stuff goes. The post Lion/Pre George Butler era, there are probably some stragglers, though? Jack wilson? Reuben Wilson? Jimmy McGriff? Jack McDuff? I really couldn't tell you on that period, I have on either junked out LP or blogged MP3 of junked out LPs.

I was about to speculate about Chico Hamilton's two 70s BN LPs, but turns out they have made CD in Japan. Those are some more hot messes probably best appreciated by "curious" listeners who aren't looking for sustainable, intrinsic musical value. Carmen McRae, what about her Blue Notes...so much of this stuff ends up being great leaders using great players to make not particularly good records...Damn you, George Butler, you could've had your cake and eaten it too except for that you weren't concerned with the cake in the first place, just with taking orders fro the bakery.

There is, apparently, one point of view that "music" has no intrinsic "value" apart from that which is bestowed upon/removed from it by an industry that can profit by getting it to an audience and reaping the profits thereof. By this logic, music that has fallen out of favor with one audience has no "value" at all unless and until it gains a new audience to start circulating money. The logical outcome of this kind of thinking is that value is determined solely by eternal, marketplace-performance criteria, which then reduces music (and musicians) to the level of a commodity like dish-washing liquid. Off course, this is bullshit - great players never find audiences, great music never gets heard, popularity quite easily turns to obscurity, and Charlie Parker is still being listened to by more people than Freddie McCoy (and I suspect always has been and always will be). And definitely - music will keep spreading its seeds rather indiscriminately and eventually change its practitioners, who are ehn in turn poised to present their audiences with new considerations that said audiences (and their potentially parasitic industrial servicers) will then see what sticks. And when you're dealing with trying to get money from people who generally want momentary gratification (which is to say, damn near everybody), looking at what was "popular" for a quick minute without also considering what still retains, gains, or even loses value with the passage of time is going to make you think some funny things. On the other hand, you can buy all the Charlie Parker records in the world and not find one of them with Joanne Brackeen on it. Freddie McCoy is the clear winner there, and that does tell you a lot of things, not so much about the music itself, Freddie McCoy tells you all you need to know about that, but about the culture that the music existed in, from, and around. Joanne Brackeen needed a gig, Freddie McCoy had one for her, and she knew how to play that gig well enough to keep it.

And I'm ok with that. Went when I as a kid, never took my kids, nor did they ever ask to go, even with being bombarded with TV ads every year. The marketplace speaks.

Heard this tonight from the DSO: Karina Canellakis conducts David Cooper horn BEETHOVEN Symphony No. 8 R. STRAUSS Horn Concerto No. 1 BARTÓK Concerto for Orchestra Now there was a good time!

So...if music only has "value" relative to its meeting the needs of an audience through an established industrial infrastructure, and if these guys had little to no work in the US because they were not meeting the needs of an audience through an established industrial infrastructure, Black & Blue was, like, what, welfare? Are any of those records on any charts anywhere? Were they ever? Where is their "value"? What, are we treating this type of music and these type of people like some kind of pet charity, alms for MY needy? Help the poor Black Folks whose own people have left them behind, WE will give them their "value" back? Seriously? I can tell you - Arnett Cobb had a Black (and most likely, Blue) audience in Houston for as long as he wanted one whether or not he made records for any damn body.