JSngry

Whoa....a Sam Peckinpah script. Discovering Strother Martin appearances in older TV westerns is likely to be one of my biggest pleasures going forth. Hell, watching older TV westerns now that I can see all of the layers of what's going on in so many of them is going to be one of my biggest pleasures going forth.

That tape is running way fast, needs pitch correction. That tune is conventionally played in Bb, this recording is somewhere around C, very inexact.. Get it in the right key, slow it down, and it will sound like Lee & Wayne, and probably Blakey too. At this speed, the drummer sounds more like Klook than it does Blakey, but this tape is faster than what was really played.

https://twitter.com/search?q=victor+bailey&ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Esearch

You might have, but it wasn't that much of a point to begin with.

Conflating, or acknowledging the difference? I'll maintain with neither animosity not hesitancy that most people would not want to hear what most records sounded like as they were being made, precisely because recording parts from the inside for assembly is a different logistical act than recording a full ensemble from out in front/above. Now, most people might love being in the booth or wherever they do it these days, but to be on the floor itself, where all the parts are being captured, pretty sure that most fans would head for the booth sooner rather than later.

The second one in particular, if you hear Jaws, then I think you should hear this. Different rooms in the same house.

Tenor player, composer, conceptualist, perhaps very much the "artist", but also a player who just when you think he can't really "play" goes ahead and really DOES play. I like music where, among other things, choices get made, and this guy is pretty much all choices.

He's one of those stealth guys for me, somebody who I keep thinking that one, two, maybe 3-4 times through a record and that'll do me, but it's like healthy candy, I come for the taste and then stay for the benefit. Now sure, "healthy candy", is that really a thing? Well, maybe? Why not?

Kinda hesitant to put this up, because his music is not from the gut "jazz" (or "from the gut anything", really), and last time I looked (about a year ago), his YouTube clips all focused on his earlier, hardcore "dance" stuff, but I swear to god, he keeps making music that is interesting, just because it's....interesting. It's music that on the surface does not really "present" as being particularly involved, but try taking it apart into any one thing, and you can't. Equal parts (at any given time) Fela, Gary McFarland, B-52s, Austin Powers, Ra, Archie Shepp, pretty much anything. And he keeps doing it, keeps putting out records that keep doing this very subtle, very weird, very non-confrontationally quirky and quietly detailed music. Limited appeal, no doubt, but I'm just wondering, anybody else here pay attention to this guy these days? Here's the latest:

I can't speak to any one particular overview, but if you want to get some really kickass Earl Bostic playing no-compromise jazz, this or some variant thereof is a must-have, imo. Bassist is Jimmy Bond, and drummers include Shelly Manne & Earl Palmer. Finger pop, toes tap, shit swings nonstop.

Is the birthday today or do I have to wait?

So, how big a boy are ya' now?

Again, Brahms! Damn! The band pictured in he promo is not the band that played. This is the band that played: https://www.chambermusicsociety.org/nyc/events/upcoming/destination-vienna-november-15-2016/ Still not feeling Mozart, still still still...I really don't care. He's doing jsut fine without me, and likewise. Their Schoenberg had me, for the first time hearing that wonderful piece, wondering if maybe it couldn't have been edited. Their time was just too metronomic for my liking. But it was obviously their choice, and it's still one helluva piece. That's why they call it "interpretation", because everybody can make their own choices. Their's was not a particularly endearing one for my taste, but they didn't fuck it up, if you know what I mean. Still very glad to hear it live, looking forward to having another opportunity, somebody, somewhere, sometime. Then they took a break, I don't know, had a drink, called their bookie, smoked a joint, kissed a puppy, hell, I don't know what they did, but they came back and got all up in that Brahms. And that's a piece to be gotten all up in! Whatever happened on that break, hey, breaks can do that for you, you know that where you started isn't wher you want to be, so you...process it and come back for the next set. Live music, ain't nothing like it, for all parties. Overall, a pretty traditional group of interpretations, nothing really grabbing me for what I came in out of the rain (literally!) for, but obviously a top-shelf group making their own choices. Hard to argue with that, and again, Brahms!

I'm glad they added the "of Illinois" to the band name, otherwise I'd have been expecting Joe Sample and shit.

Indigenous Instruments - The Music Of Steven Mackey (Newport Classic, 1993) I like this. Like it a lot.

The Wergo label seems to be a fun place to go when you think you've heard everything but know you haven't.

It's chamber music night tonight: http://www.dallaschambermusic.org/72ndseason/chamber-music-society-of-lincoln-center/ CHAMBER MUSIC SOCIETY OF LINCOLN CENTER Monday, November 7, 2016, 7:30pm at Caruth Auditorium at SMU David Finckel and his ensemble of six perform: Mozart: Quintet for Strings in C minor, K. 406 Schoenberg: Verklärte Nacht (Transfigured Night) for String Sextet Op. 4 Brahms: Sextet No. 1 in B-flat Major for two violins, two violas and two cellos, Op. 18 I dunno man, these people look kinda Peter Paul & Mary-ish, Puff The Magic Schoenberg, I hope not? There's also the matter that Wynton has forever scar-tissued my reflexes about anything that says "Lincoln Center", but I know they were doing this a loooong time before they were doing that.

Way Out West is also one of the best-recorded jazz lps to, imo. The balance, presence, and breath in that record is just awesome, you hear the trio in such intimate detail that every movement gets answered back and it just keep going. No excessive reverb, no tweaking errors on any of the instruments, just a very "you are there" (and "there" was apparently a space in the Contemporary stock room) sense to it all. I'd kinda go out on a limb and say that the next time a saxophone trio would be recorded this intimately playing this intimately would be Air Time. And lord knows, I love Elvin like the lifeforce he is (yes, is, still), but Shelley Manne could bring the quiet noise and the varied detail, and the swing to keep it all happening that allowed for this trio to all have their sound spaces complimented without being occupied. Elvin would give you the waves you needed to ride on in the stormy waters, Shelley was more like they guy who's in still water with you and is making the gentle waves that relax you. It really is one helluva record.

Pinchas Steinberg is an older man, with old man skinny spindlelegs, and for two of the three pieces, he didn't conduct from /with a score. There was no athleticism in his conducting, but there was arm and hand movements (with and without a baton) that were crisp, sharp, and intense. He also, and this was evident from the opening Franck piece, insistent on a full, dark sound out of the strings. He also went for slightly slower tempos and for leaving spaces in appropriate places that allowed for the Meyerson hall to play the sound back on itself. This was a darker, slower DSO than we ususally get under van Sweden, and although I don't think I'd want this to be the norm the contrast that one night of it provided for was enlightening, and very pleasurable. I did note that Steinberg made it a point to go back in the band during the final bows and she hands with the bassist, the cellists, and the violists. That confirmed to me that those were the player central to his game plan, and that they did indeed deliver what he wanted. Ingrid Filter was an engaging performer, who fidgets a lot before playing, but once in, all in. Again, we were third row center, and the sound coming out of the bottom of the piano unlike Yuja Wang a few years ago, the were no mikes around, nor half-nude Beauty Pageant dresses being worn to distract from ether instrument or player. The underside of this piano delivered a deep, full richness, and an occasionally spooky directionality, like when a descending passage actually seemed to "move" from the front end of the piano to the lower end, from closer to our ears to farther away...the sound had a bit of actual "geography" to it. Also unlike Wang, the absence of a split-front dress that gave patrons in our specific seating area access to way more of the inside of her legs that fel comfortable at a concert (she should have just worn a bathing suit and sat on a diving board), allowed for an ability to watch Ms. Filter's feet in action, especially her pedal techniques, which on the cadenzas was something to indeed watch and marvel at. And she was a bit of a stomper too, when she needed to go there to get there, she went there. All told, great player, and fun to watch, the eyes and ears sync up here. The pieces themselves, I really dug the Franck, "enjoyed" the Schumann although it seemed a bit too emo in bass content to be anything other than what it was, but I guess that's just the nature of that beast. Enjoyed the playing more than the music. The Dvorak kept threatening to float away from me, but dammit, the guy knew what he was doing and every time it started to get too lite, here came some gravity to keep it real. And watching Steinberg conduct all night was a real treat too. All told, another night of music definitely worth leaving the house for, overcoming the really edgy traffic we kept getting into on the way down and on the way back.

Maybe this? http://www.tzclassifieds.com/schlitz-salute-to-jazz-festivals-i2922519/