JSngry

God knows, Big BS & I often butt heads (in a friendly way, I hope), but in this case, I think I'm hearing him saying that it is exactly that "ignorance" that he is pointing/calling out. He's more than capable of speaking for himself, but hey, it's Friday. Let's dance.

Oh, so Allen Lowe wanting to use 24 bit to make his records is going to cost civilian consumers a lot of money...because how Allen Lowe likes to make his records is part of an industry conspiracy to bamboozle Everybody In The World. Allen Lowe should have his current recording equipment seized and forcibly replaced with All Scientifically Proven Accurate Technology, and then only make records that can be Scientifically Proven Accurate. Only then will We The People be safe from 60 Gajillion Dollar Headphone Muffs. Because people really are that gullible, and it's people like Allen Lowe who want to make their records in 24 bit because that's how they like it who are at fault. Got it. HEY TROUT, GROW SOME HAIR!!!

Still thinking about that Rawhide set. Still think that Honky Tonk Man is a must-see. So, BAU AFAIC.

I Wanna Vibrate Like A Cello.

Wait, Mose Allison, but not Clint Eastwood? What about Bob Dylan?

I've been thinking about getting a complete Rawhide DVD set. Otherwise, Honky Tonk Man is a must-see, imo.

And the impact to you and how you enjoy your Allen Lowe and Organissimo records is...what, exactly?

My legs are ok, but my chain definitely felt a few yanks.

I hear the Big Beat, I do. Plenty of sociological fetishism has clouded plenty of perceptions, plenty of myopic pigeonholing allowing for plenty of programmed reflexism as to what any particular "is" really consists of. Mose Allison - Yeah, Southern, yeah, Missisppi, but also yeah, Zoot & Al and also some weirdass piano playing. Your "blues" is where you find it, and if your lines don't blur, Mose as "blues" is a wishful thinking or a wishful rejection, depending on what part of your intellectual turf you're defending. The only way I hear Mose as "blues" is when I open the thought that "blues" involves at least as much (if not more) an outlook on the fundamental underpinnings of life, as it does an emotional reaction to it's ongoing immediacies. But, yes, I do open that thought, and it does stay open, it's hard to close it once it's open, actually.

Seriously - you guys are both making records the way you want to make them of the music you want to make, and presumably for the reasons you want to make it. Everybody's winning in that regard, and all the civilian chatter has as much to do with anything as does me heckling Mike Trout from an enclosed skybox.

"Clever" doesn't account for all that is left over after the clever runs out...when it's songs about "characters", yeah, they can kind of run out about a mile and a half after the clever. But the songs about, for lack of a better term, "the human condition", something like "Monsters Of The Id", those things run out of clever and keep on going and going and going...It's the difference between "yeah, but" and "yeah...". Mose did his share of the former, but more than his share of the latter.

I'm not really interested in the record, but that's still good writing. Gives objective context for a subjective opinion, does not engage in rapturous GREATEST MUSIC EVER effusiveness, simply lays it out nice and logically, this is what has already happened, I liked it, this is what is happening now, I liked that, so in that context, I like this, and does note variances between performances, real variances, just a really nicely written review. Solid thinking about emotional music, emotional thinking about solid music...gotta have both, imo. And this does. I need to read stuff like this, positive and objective opinions about things that I might overlook, dismiss, or otherwise just not really get/get to for whatever reason. Keep it up, dude, keep it up.

Exactly. Those records were damn near everywhere too. Oh yeah, Eddie Harris too.

Not on this horizon at this time. 2016 has been one weird year, lots of personal stuff to deal with. But I ain't dead yet and the people I play with still conversate with me. So there will be more, at some point. "Career" is the punch line of a sick joke for me, but "giving it all up" is not an option, desired or otherwise.

Ancient history by now, but apparently something got tweeted. It's a good memory so forgive me if I share.

Kris Kringle Kris Tinkle P.P. Badleigh

That would be interesting, yes.

Seems to me like it's been circulated for a while, possibly/probably even on Dime, so even if this is it's first hard-copy release, it's no doubt already a known performance.

If it's Monk/Studio/1959, that would have to be Riverside. http://www.jazzdisco.org/thelonious-monk/discography/#590228 My hope would be for more Monk/Thad, but the reality is that unless this has been truly lost and/or forgottten, it might be outtakes that go nowhere, perhaps even fast. But one never knows.

Dave Brubeck needed neither knife nor fight. He had Paul Desmond, and that motherfucker would logic you into submission, no bloodshed needed. Of course, Brubeck kept it all going,but really, resistance to Paul Desmond is the ultimate exercise in thinking you have a long game but guess what - no, THAT'S the cat with the long game.

I might be wrong, but the first time I heard that one was on the flip side of Blue Cheer's 45 of "Summertime Blues"! Yeah, this: So....yeah...from Blue Cheer covering Mose Allison to the real Mose Allison...that was a mindfuck of its own kind. RIP Mose.

Hello Joe, whaddya know? LOOK OUT!!!! STAND BACK!!!!

I was blessed with a chance to chat with Shannon Jackson a year or two ago, and that was one of the first things I asked him, what was Ayler's sound like? He got excited about that, and compared it to King Curtis! Not like, literally, but coming from that place and then going out from there.

Yeah, I get that. My conscious experience with jazz and jazz record stores and jazz radio begins in the early 70s, pre-reissue boom. What I saw in the record stores and heard on the radio was Mose Allison Atlantic stuff. Not that much of the Prestige catalog stuff was really on the shelves outside of mom-and-pop stores where it had been sitting. Atlantic kept 'em coming, and Atlantic made sure the covers looked "new". I was actually shocked at how "old" the music sounded, this was the guy who was covered by The Who, these Atlantic albums all looked kinda modernish, so I'm expecting something like "Your Mind Is On Vacation" to get kinda, you know...warp-y, but put the record on and here's this drawly guy playing pretty weird piano with an acoustic trio. CRAZY! And then these happened, and then things started changing. Never again would "reissues" not be a part of the everyday mindset of everyday jazz fans. PR 24001 Miles Davis PR 24002 Mose Allison PR 24003 John Coltrane PR 24004 Sonny Rollins PR 24005 The Modern Jazz Quartet PR 24006 Thelonious Monk Surely it was a "you had to be there" thing, at least in part, but those middle-60s-early 1970s Atlantic jazz records did more than their part as far as making the records look like something that "young people" might want to engage in.

I can't guarantee anything, but given the sate of, uh...uncritical thinking that goes into the packaging of so many of "these type of things", I give at least even money that this "1958 Hollywood Bowl" concert is actually the 1962 Hollywood Bowl Concert that somebody got hold up in a mislabeled form and they're just running with that because that's how it rolls in the land of "these type things". You make up your own mind, but... And ok, this: https://www.microsoft.com/en-us/store/music/album/dave-brubeck/at-the-hollywood-bowl-1958/8d6kgx7l6mcn Is the same as the 1962 gig that was put up on one of the sites listed previously. Same set list, same track lengths (essentially) same gig, surely.