JSngry

Nobody's was, really...I mean, Hodges was not an original Ellintonian, but as soon as he got there, he because part of the DNA, imo. Now, what was interesting was Geezil Minerve coming in, where that voice could have led , but that would have required a whole reset of the timeframe of the DNA and a resetting of the DNA of the timetable, and, uh...not all attempts at evolution gain traction and move forward, even ones that have potential...history written by the winners also includes winners as things that simply survive long enough to take hold and stay for a while. Actually, that last Ellington band, the one heard on Last Trip To Paris, that was a band that could have developed its own voice, and maybe did under Mercer...documentation of post-Duke live Mercerband is sparse(?), and so were gigs, and the burden of being The Ellington Band...I knew a few guys who played that gig in the late 70s, and then later on, and it was being pulled all kinds of ways, audience expectations vs. a desire to play the later works in depth. Not sure that it ever, ever, was a regular touring band, although it tried in the beginning, it seemed. That CD is a mess, a really weird, intense, mess, and the sound of a world coming to an end against its own will while business demands increased...but Ellington, always intense. always.

Also....I always look forward to Jimmy Hamilton's tenor spots, when they happened. Interesting to me how once Hamilton split, Harold Ashby came in and made some strong tenor statements, and Russell Procope became THE clarinet voice in the band. But I also looked forward to Procope's alto solos, his little routine on "Jam With Sam" never fails to crack me up.

How much action did Johnny Coles get? Julian Preister? For that matter, Otto Hardwick? But that whole period...that's when people were talking about how Duke had lost focus and stuff. Maybe, yeah, but maybe not really? And yet at his own label, he had to take a back seat (maybe even a rumble seat) to Stan Kenton...I wonder how much the Hodges sound/vibe/juice was really critical to Duke getting his groove on, it's like he was playing a waiting game for Hodges to get back so he could unleash the mighty Ellington mojo again? And to all who want to fradulate about how Duke would have been nothing without Strayhorn, consider that Duke still had Billy during the non-Hodges years, and ok, they still did good work, but one Rabbit came back, hey, it's like the wiring was whole again, current began to flow freely again. I don't know, just seems that way when taking a broad generalistic overview. The specifics show a still-great band with a still-fine book. But hey, when that Johnny Hodges guy came back, stuff started getting mo-betta, right?

I find the narrations to be "mythological" in both tone and intent, the kind of thing that if any of it is meant to be taken literally, well, good luck on that. But as myth, as story, as a "fantastic" casting of values for timeless reference, yeah, it's ok. I like the record actually.

I've already ordered a second copy because I carelessly spilled water on a table where the album was, with unsightly results. But it's a good record, yeah.

In.

Bill F Happy Rockefeller Bert Day

RIP

Thanks, Bev. She's already feeling better.

Ok, I am sleepy and lazy and too drunk to fuck...which, if any, American CD release contains all this material at the correct pitch(es)?

Billie & Ben...deep.

Cool is not cold, nor is objective meant as calculated, or nothing left to randomness meant to equate to scientific. I meant it as your playing seems to reflect your person, and I meant it as a compliment. I would say the exact things about Lee Konitz, although Lee's experiential projection and yours are totally different, that's a cool thing that people from different places can end up operating in similar zones. Compliment meant to be paid, sorry if not perceived as such. And if I don't hear your playing as the you mean it to be heard...sorry? I still like it, if for the wrong reasons?

Flavor on pop records too!

Well, due to health reasons, Mrs. JSngry was regrettably unable to appear at the concert as well, and supportive spouse Mr. JSngry stayed home as a result. I really wanted to hear the Lutowski, but...oh well.

Practice exercise to develop a more controlled, consistent vibrato. Pretty much an exercise in building hand/arm musculature and muscle memory, That's David Finkel. He was with the Emerson Quartet for a good while and now is with Lincoln Center. Heard hear do this a year or two ago in a small room, sat no more than 15-20 feet away, it was...intense. Now, to hear this somewhere live...

What exactly is involved in vintage synth restoration? Probably depends on the machine, i know, but still, that sounds interesting.

I saw that guy play last week. It was very satisfying.

Is it this one? http://redhotjazz.com/goldo.html If so, Harry Owens / Reggis Montgomery Who they are, somebody else will have to tell you.

https://www.amazon.com/K-D-Here-York-City-1962/dp/B01MTJAPDL/ref=sr_1_1?s=music&ie=UTF8&qid=1479613854&sr=1-1 Hell yeah. 1966 Sonny Red and Hugh Walker! 1962 Bish and Stu Martin?!?!?!?! Taking that offer right now.

Crunchy? Like bone meal?

That "Confirmation" clip is playing in E. Unless everybody's going full-warrior, the tune is usually played in F. Call me crazy, but that tenor player, even with pitch correction needed, sounds like it could be Dexter? Trumpet does not sound like Lee, agreed.

I dig that the Flintstones gave up their bodies to be made into delicious gelatinous nutrient delivery systems. I myself would not be so noble, even if extended the invitation.

Interesting for the electronics, Maybe not compelling, but interesting.