JSngry

dude, you're waaaaay too defensive or whatever. Most jazz fans in general do not even know abut Mosaic. Etc. The only people who would have an interest in reissues past a "greatest hits" sort type thing are true collectors of musics, of which I assure you there are very, very few relative to the world's total population, much less the "music fan" community. If it matters to you, though, every hardcore Country/Western Swing collector that I know (total of about 3 people, are VERY aware of Bear Family. Same thing with the jazz/blues hardcore collector, they know where the shit is, and they don't care as long as they can get it, ideally from ethical companies, but if not, oh well. As for King, dig what the writer said about Cincinnati's "repressive reputation". Look at what other "musical cities" have done with their heritages, and look at what Cincinnati has not done with theirs. From what I've seen about and around that general area, I doubt that the lack of action is accidental. We took "World History" and "American History" as separate, school year long classes. Of course, it wasn't REALLY "World" history, it was the history of the world as seen through the lens of European growth, expansion, conquest/colonization, etc. and the reactions to it. I would not call it "in-depth" but it was far from "cursory", either. If you wanted really granular detail, you got that in college. Of course, that was a well-funded public high-school in the early 1970s. What they teach the kids these days, damned if I know, and for that matter, damned if I can tell. All I can tell you is that there are people who think that "Europe" is a county, but they didn't learn that in school, if my kid's homework of 10-ish years ago was any indication. That's not a failure of the schools (at least not ours here), that's just a failure to give a damn about anything. Now, if you want to talk about institutionalized taught-in ignorance of African history, or Asian history, or, especially, South/Central American history, hey, point that finger, please do. As for bootlegs/pirate/etc...I recall when all that shit came from Italy, and then, for a quick minute, Israel. Andorra was a sweater or some shit.

Last time I checked, reissues were not taught in school.

He learned from the inside. Dues paid, proven pedigree, every penny, and every ounce of respect, earned. RIP.

Flappy Perth Day!

I doubt I'll buy any more Blue Note vinyl, but have bought plenty (no big deal about that, just a function of chronology), and I'm not getting rid of any of it either. It's a different sound than a RVG/etc, for sure. I'll leave the arguments about which of all them is "better", but if the argument will be that it is not different, that would be just fucking crazy.

I spend the day traveling and come home to a 10-1 final? Gee, that's unpleasant!

Damn phones... I think Carmen McRae had a version of it too, one that worked a lot better that I would have expected.

The vocal was treacly, and immensely s. The melody itself is one of those things that leaves room for nuance.And the changes move in such a way that melodic arcs are pretty much built into iy. I would be willing to give a player like Chris Woods a chance with it. It was Dewey Redman's version that made me notice these thongs.

But that's a good song...A good hit record, not so much, but as a song...

Is it still cool to be cool? Does that con never get old?

I have an ancient version of Roxio, but yeah, it will make a copy of a disc that won't play in one player and that copy will play just fine. I'm sure there's a reason why that happens, but it's beyond me.

Will it play on any other player? Car, home, portable?

It's a 45, but that is the guy, Napoleon Hill. You got it! Reading his biography, it turns out that he was a pretty high profile guy in his day, many business and political leaders took him and his philosophy seriously. I think he actually consulted a Predident or two. With stuff like this. Think about that. I have searched in vain for a picture of his son Blair.

Lion went to the mastering sessions, it it said. Alfred Lion WAS the Blue Note Sound.

Alfred Lion?

Guess it's not much help to say that every record I've ever heard on that label totally kicks some kind of ass.

Y'all know that Benny Goodman rehearsal session with Prez, Charlie Christian and Basie where after Benny left that all got so high that they projected into the future and made a record for Pacific Jazz before coming back? Yeah, earliest Jim Hall is just delightfully, ridiculously right about so many details. I dig how he moved out from that but never away from that. He had those roots in Christian that never left. I guess his mentorees had the same kind of relationship to him, but...hmmm...none of them seem as intuitively linked to him as he did to Christian. That might just be the way that evolution go.

...whoa...dude...again! That's as gratifying as it is humbling. Thank you. You would think so, but, nope. As for 9...the title of the piece is a direct response to 8, and can be discerned/deduced from the main motif...it sounds like what it is.

Yeah, where DID that come from???? Tell you what...source the text, then work from there. You can get that question answered, guaranteed. whoa...dude...

The Star Trek bonus points are still up for grabs. Also, a new offer - double miles for everybody who can connect the dots between Charlie Parker and Carol Burnett in four easy steps using one of the selections here. Oh yes there is, and oh yes you can!

Yes, corto is on the money for 5, 7, & 10. Nicely played! MG got #1, and almost everybody's gotten the two Mingus cuts (2 & 11) with Felser at the ready to ID it as a 45, not an LP...what are y'all hearing in that (past the surface noise, of course, probably from jukebox play, altjough, including that)? Several considerations, objectively real and "programmatic" within this specific program, and MG was sorta kinda on to something, backing into it, maybe? At the very least, being pulled into the gravitational field. And there's no mistaking James Brown. But he's not here for that purpose, to simply be IDed. Randy & Felser both identified it as a remix. And really, a James Brown remix per se is hardly news, so again, that's not why it's here. So, why IS it here? Because...well, just listen to it! The Anthony Davis piece is actually two full cuts and the beginning of a third (In real time performance order). Anybody who wants to play the "narrative" game, follow the gist of the lyrics as the go along, as well as things that happen in the music. Just sayin'... #12...we have Ike, we have bowling alley, and I did play with tape recorders as a younger self. But sorry! LOL! MG is totally off chronologically and ezthetically as far as it being sourced from a hip-hop place, BUT...the very hiphoppish esthetic of recontextualizing an existing language to meet current personal needs (from both within and from and without)...THAT card would not be entirely misplayed were it to be played at all at several point along the way here.

Nope.

"Tredgin'" was part of the added-on bridge, which, really, changes the lyric from that of a lonesome journey into the void to a much more mundane, trivial, sad labor pop song. I would perceive It to be an Imposed dialect Impression of trudging.

No, that's Dorothy Kilgallen. What's My Line? It's Mystery Guest time, panel!