JSngry

When did Gene Harris record with Lester Young?

Tate Houston Dean Martin Paula Deen

The Man From Glad The Girl from Ipanema The Boys From Iwo Jima

Frere Jacques Soeur Sourire Dominique Wilkins

Ok, sound is not consistently perfectly decent, but...Hugh Walker!!!

Getting started on this now, not even through the first cut and Conny red + Hugh Walker are rocking my world, hard. sound is perfectly decent, and there's a stealth 3-4 second Ellington moment at the very first of the disc.

i heard that.

Glad you thought so...not sure how many people agreed...which is ok. I can't promise that it'll be anything "jazz-related", although it might be. Depends on where I am at the time. If October is still open in a month or so, sign me up. Otherwise, somebody else can do it. Who knows, it might be all spoken word! Or not!

So, we're getting to the future by putting shit in reverse and lapping the past, is that how this is gonna work? Makes about as much sense as anything else...

What's this about burning the fridge after somebody took a dump in it? What kind of cabaret act IS this?

Lanny Morgan Lennie Pickett Lonnie James http://www.redlandsfencing.com/team/

Edison Lighthouse Howard Rumsey John Worster

Maybe he's jamming with them System Dialing guys, ya' think?

Denardo, eh? What kind of a band does he have now?

Chelsea Bridges The Golden Gate Quartet George Strait

I started out not liking or caring, moved into liking that little window around the Topographic Ocean thing, that was more or less Fusion (and determined Fusion at that, no halfass posing!), and have long since set up shop in Good But Not At All Relevant To Me Land. Seems like I can get every part of what they do (that I like, anyway) in better/fuller form more efficiently and effectively elsewhere. Having said that, yeah, good band, great players. Just not one I feel. But HOF material, yeah, definitely!

Donald Trump Paul Ryan Joe Newman

Florina Perez Tony Perez The Big Red Machine

Longtime Listener First-time Caller Lurker

Found an addition! Oliver's on one cut, playing obbligatos on "Easy Living". Hardly revelatory, but a nice moment on an already nice record.

Not particularly...A general mention or two as point of origin of some of the usual suspects, not much more. It's mostly a book about records, radio, bookings, and the people who made all that work.

The Timeless All Stars Timex Group USA Timon of Athens

Finished the book this afternoon, and have to say that the "snapshots" that are the form of the book tend to get a little more annoying when they move into the actual (as popularly considered) music of the book's title..chronologies are either condensed or left hanging to be taken back up later, There are also some curious de-emphasizings of the entire Joel Dorn/Atlantic era, a really brief look at Ramsey Lewis that doesn't get taken until the book until the narrative reaches the 70s (Ray Bryant's Argo/Cadet gets an earlier and more detailed look, nothing against ray Bryan, he deserves it, but, really, who sold more records to Black Audiences for that label, Ray Bryant or Ramsey Lewis?), a curious reference to Charles Earland as the last great organist to record for Prestige or something like that, which I was like, uh...Leon Spencer, perhaps? He's barely mentioned, which seems odd...)And a curious habit of referring to anything that references funk or latin musics and/or employs electric instruments other than guitar and organ as "fusion"...the last feature profile in the book is of Grover washinton, Jr. It is a kind and understanding one, and worthy of the man, but...it refers to all his records as "fusion". So I guess when "jazz" was intersecting with one kind of R&B it was "Soul Jazz", and then when R&B itself evolved, the jazz that intersected with it was "fusion? Not sure if /I get that...Also almost no, really, no mention of Ahmad Jamal. and I know very well that black people bought a LOT of Ahmad Jamal records when they came out OTOH...a totally accurate portrayal of CTI, why it happened, how it happened as music and as product, with the simple truth that Creed Taylor's genius lay in greating setting for jazz artists that treated them like pop singers, and that they advertised in Essence (how many jazz history book come from a perspective that is even aware of what Essence magazine is?) and some cool inside baseball stuff about things like the impact the discontinuing mono had on jazz record sales, stuff like that. And plenty shoutouts to worthy producers such as Ozzie Cadena & Esmond Edwards, as well as noting that the alte 50s & early 1960s saw Black Men (producers, A&R) having control over who recorded jazz records and how those records got made than at any time previously, and that these records were made to sell to Specific Black Audiences, not just Jazz Fans. No doubt an essential book, if not a definitive one (that would require a lot more granular look at individuals and places than this one book can hold, and given how people are dying off and real estates constantly redefining, such a book may well be impossible?). For fans of the music and the social fabric which spawned it (and/or for those who inherited it either directly or indirectly), yes, read it. It's delightfully square-on look a very particular reality i.e. - about half the book is about the evolution from Race Music to R&B to R&R and not once is Elvis Presley mentioned...Deems Taylor Award on those grounds alone imo! The guy might have some quirks, but he tells no lies, nor does he make shit up in the interest of mythology. Hooray for Bob Porter!!!

pg 122: ...Duke Ellington...the departures in 1951 had forced changes upon Ellington. The rhythmic innovations introduced by Louis Bellson priovided the band with fresh inspiration. Upon Bellson's departure, Ellington tried Butch Ballard and Dave Black; and each, while competent, could not provide the spark that Ellington was seeking. Sam Woodyard, who followed Black, was the answer. Woodyard had worked with organist Milt Bucker before joining Ellington in July 1955...he gave the Ellington band the strongest backbeat it had ever had. If the "big beat" was what Ellington wanted, then Woodyard could deliver...In many ways, the arrival of Woodyard heralded a New Testament Ellington band. The term "big beat" here is used in reference to the Alan Freed era of R&B/R&R, and Freed gets some light shone on him in this book for his various big band involvements - and the people involved, most of whom came from black dance/big bands of the pre-bop type. Also looked at is Basie's involvement with Freed, as well as Morris Levy's involvement with both Freed and Roulete, where Basie was produced by Teddy Reig, him of the earlier R&B records. None of this is really labored on, jsut ittle "oh by the way" dropping of facts that keep adding up with every page. This matter-of-fact declaration that Sam Woodyard gave the Ellington band the strongest backbeat it had ever had..well, yes. HELL yes, in fact! Why has it taken until 2016 for this to be noted and put into context? Dots being connected for a general audience at last! Hooray for Bob Porter!