JSngry

But know that the whole record is less than 30 minutes, so if they put it on a full CD, it's gonna be a waaaaaay short one.

It's mellow, it's soft pop, and it's beautiful. Windy is the one in that batch I don't know very eell.

Inez wins.

The Crown, bought it at a Firestone store in my hometown. Rode my bike there and back. Crown showed up regularly at places like that, dime stores, Western Auto, Sears, etc. Some rack jobber was doing their job well, I would say. It was two Paul Desmond Fantasy studio cuts, one live Brubeck Fantasy cut, and whatever the hell that George Nielsen thing was, don't know if that's ever been firmly established.

Watch the face-acting on this one...every look perfect for before, during, and after an encounter with the police. Taht's not said with even the least bit of snark either, but with the fullest respect.

I can recall for certain, because i had just begun buying rock albums in earnest (at least as earnest as my allowance would allow for) about a year or so before, and this definitely felt significant to me, this stepping into another world by actually buying into it. This was a different thing, yeah, and not a causal undertaking. There was so much other stuff to buy, and...jazz? A jazz record? Buying one? UH-oh... And then, about a month later, this one (don't laugh, I didn't!) Before you figure out the formulae, this kind of thing is impressive. And it still is, in different ways, after you do. Besides, Shelly Manne never sucked! Now, what the third one was...that's where things get fuzzy...

Various episodes of Burke's Law, Season 1. Some seriously entertaining fun shit!

Ikef When I was three I blew icons of milk from sweet pipes of flesh and giggled at the eye-bubbles giving me pleasure. When I was six I blew icons of soap from wooden pipes and chased little girls on giant bubble-dragons. When I was nine I blew hero wings from stolen cigarettes and staggered over smoke-ropes of lies. When I was twelve I blew kisses on paper to big girls who broke my bubbles with knowing eyes. When I was fifteen I blew icons of pleasure from a horn, dreaming of milk, crystal spheres, and warriors eating honey. When I was eighteen I smoked icons of kef and blew images that spun and exploded, reflecting visions of three. Henry Dumas

Of possible interest: http://www.prestohistory.com/Presto.htm It might have been something recorded for somebody's local/personal use. With no matrix or label markings, that seems possible.

Does the dead wax have anything in it? Or the label anything on it? At all?

I'm still amazed as hell about how fully realized those performances are, especially on the one included here, how one player makes one piano sound like an actual group, not just in timbre, but in attacks and time. I don't know enough to know the particulars about Maro Ajemian, what kind of musical relationship she had with Cage, or, really, her work in general, but damn does this one here speak to me of full immersion, total commitment, and deep understanding of purpose and vision.

The "narrative" approach to the programming here hasn't gained traction, but fwiw, "falling asleep in church" is a big part of that narrative.

Even if it all sucked (and it won't) it's worth that much!

I had red & green, but jumped on brown because it was both complete AND grouped by session. Finally. And then, Mosaic, game over then, for me. But yes, vinyl 2-fers, crazy mad skills in compiling most of those, occasionally/rarely still superior to later CD efforts, maybe?

Slim's first records were in the late 1930s, with Slim & Slam. If you've got a complete Charlie Parker collection, you got some Slim Gaillard records.

Slim was a friend of all universes, known and unknown. Didn't grow up with the Goonies, but got there as fast as I could!

And I don't know that I ever bought the contemporaneous Milt Jackson LP that had those tracks...definitely didn't have a need after the BN Two-fer.

He kept us in suspense!

You get those bonus points, corto, spend them with glee! This is indeed a CRI CD reissue of the Dial LPs. https://www.discogs.com/John-Cage-Maro-Ajemian-Sonatas-And-Interludes-For-Prepared-Piano/release/1190155 What you keep saying is what I have said since discovering this music - wonderful, thrilling, not at all "difficult, and yes, the complete cycle, if you're going to hear any of it, it's better to hear all of it. I'll add this - that somebody in 1950 could so fully realized this then-abstraction of what a piano was capable of as a straight-up percussion instrument (which it is by definition) still boggles my mind. Percussion instruments, really, all in one piano. Cecil Taylor is famously references as treating the piano as "88 tuned drums", and well he should be, but this music is getting there from another path than Cecil's. Cage is more "gamelan" and again, it's 1950, what reference materials were there form him to draw on, much less propel him full-forward into these results? Some, obviously, but how much, especially compared to what we have had in the post- Nonesuch Explorer Series world. Let's give the man credit for vision, a strong, clear, undeterred vision. Not just Cage's compositional vision either - Ajemian feels this music deeply and plays it accordingly. The nuances of the time and the attacks, it really feels like more than one person and more than one instrument. Boggles my imagination, this does, especially for 1950. And on Dial records!

Business opportunity!

The cynic in me thinks that this is the look of the You Gonna Sue Us, You Gonna Have To Sue Apple Too, And Good Luck With That card being played.

Ok, thread locked. Sorry CJ, sorry Joel, good luck to you both, start a new thread if/when desired. This one is done.