JSngry

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.

Will he send Mose Allison as his proxy?

Still haven't really taken to this one, seems a little "flat" to me. But I keep trying!

I guess when you found him has to do with how you imagine him, but for me, he was one of those guys like Mingus, Fathead, MJQ, Rahsaan, Yusef, Ornette, Herbie Mann, even, these guys pretty much were Atlantic Records jazz to me. That an artist as "one of these things is not like the others" as Mose could and did not just fit but thrive in that label-esthetic identity speaks to me as a matter of import. Atlantic Jazz in that day had its own niche as much as did any label. And I really dug Mose's piano playing, especially as he got deeper into it, the two-hand independence thing got pretty intense at times. RIP, and again...

Danger, yes. Intrigue, not so much. You know what all is there, good and bad. The only surprises come in finding out who is who, and when. You really never can tell until it's over, and then, it's over. Get ready all over again. There's a reason why so many people of faith come from that area. Faith is all you got most of the time.

Perhaps the hoax is a hoax? http://www.clarionledger.com/story/magnolia/2016/11/15/pianist-mose-allison-dies-age-89/93921696/ http://hottytoddy.com/2016/11/15/mose-allison-dies-age-89/ No matter, either way - Hello There, Universe.

Either way, hey.

Here's Saturday with/at DSO: Dammit, I do NOT want to hear more Mozart, but again, Brahms! and Lutoslawski, and the first look at/listen to Ruth Reinhardt...good enough reasons for going.

We need to make one of those dive gigs one of these days. Road trip, with barbeque and/or enchiladas. Just make sure your headlights work and your taillights ain't broke. Also that your license plate lite ain't burnt out and all your stickers are current. I could be fun. It could be scary. It could be both. and frankly, it could be neither, it could be another bar band in another small town bar. Tell you what, though- as long as the venue has a listed street address and phone #, it's only going to be so much fun and so much dangerous. The really, uh..."exotic" places are those that you don't know about unless you know about them, if you know what I mean. It's been decades since I had any insight into all that, hell, it may all be gone.

Hello There, Universe.

Billy Sol Estes in the news, Sinatra recently returned from Hong Kong, Bo Belinsky reference, 1962 is the most likely year,

New? It's a realm alright, but believe me, it's not new! Well, the specific sites might be, but that's it. Talk about the more things change, etc....

1963 is another option: http://barbra-archives.com/live/60s/hollywood_bowl_63_streisand.html "Castilian Blues" was released in 1962, recorded in 1961. So, really, anything before 1961 seems highly unlikely.

This site says that Brubeck opened for Keeley Smith at this 1958 Hollywood bowl gig. http://pastdaily.com/2012/12/05/dave-brubeck-live-at-the-hollywood-bowl-1958-a-tribute-from-past-daily/ Here it says the same gig was in 1960: http://crooksandliars.com/gordonskene/newstalgia-downbeat-dave-brubeck-and-k And ok, listening to the actual recording, Brubeck introduces "Take 5" as " a tune of Paul's right now, one that I'm sure most of you have heard". Couple that with how the tempo has already begun to pick up, and 1960 seems much more likely than 1958. 1958 pretty much seems out of the question. And ok, here's the same site that gives Brubeck as 1958 giving the same concert (and calling it Keely Smith's Hollywood Bowl debut at that!) as 1962. http://pastdaily.com/2013/12/01/keely-smith-concert-hollywood-bowl-1962-past-daily-pop-chronicles/ So if Brubeck opened for Keely Smith @ the Hollywood Bowl in 1958 and Keely didn't make her debut until 1962, that must've been one helluva intermission, that's all I can say.

Was that church right on Hwy 80, more or less downtown? When I think of any place in Big Sandy being a music venue, it's the old roller rink, which used to be a full-service family fun emporium - roller skating, swimming, fishing, paddle boating, all that. Grade school EOY picnics were often held there. Last time I looked, it was a dancehall now, still on that water, though. Big Sandy Lake. http://bigsandydancehall.blogspot.com/ http://www.tylernightout.com/events/meetup/198098772/dick-and-alices-dancehall-is-located-at-family-world-drive-off-hwy-80 Oh, this is beautiful. There were not these options when I was her age, not for playing blues. https://www.gigmasters.com/bluesband/allyvenableband Please note Ally Venable Band will also travel to Laird Hill, Overton, Longview, White Oak, New London, Gladewater, Arp, Tyler, Joinerville, Selman City, Henderson, Judson, Easton, Minden, Winona, Big Sandy, Price, Hallsville, Tatum, Troup.

Max Braun Max Bruner Max Brenner

Josh Peter Peter Joshua Joshua Peters

Arthur Ashe Arthur Duncan Yo-Yo Ma

Anybody know if there's a story about how the piano sudeenly pops up on this one, and if it is in fact Leon Russell? One of the great moments in American Popular Music, imo.

Thanks, appreciate that

Falling Water is what, by who, on where? Please? In my mind I have it linked with Mr. Robot?