JSngry

Maybe nowadays, but that's a long time from then...and how far is that, really, from some variant of Gene Ammons As Nothing More Jukebox Jazz?

Maybe they need to service the truck stop market. What are some of the better pure Gospel sets they've done, "country" or "soul"?

I picked up the Grusin, having been unaware of its existence until now. It is good enough for at least one listen, maybe a few more over time. The horns are not so much a "front line" as they are added color on some tunes. What solos are allotted are very nice. However, the record was clearly conceived as a showcase for Grusin, and as such, it does not fail, nor does he. It's obvious that he would have never become a "jazz star", but it's also obvious that he's no dummy either (and if you knew him back in the pre-GRP days for his work with Brazil 66 & on It Takes A Thief, you already knew that). Bottom line for me - as a trio album, not really something I would want to hear. As an artist showcase with enough added solos from the hornists, hey, I've paid more and gotten much less. And really, if there's Thad Jones soling, that's a good place to be for as long as it's happening.

You are inside the overlapping of the Venn diagram. Please do not panic. Meals will be available shorty at a nominal cost to you or your designated surrogate. As always, snacks are provided at no charge.

That would be sweet. Do they go there?

A Caravans Mosaic? Or the equivalent by whatever somebody can do it right? That needs to happen, imo.

Not really a "deeper" difference...perhaps a more intensely demographically-specific difference in origin and expression, although obviously not in receivability, as is evidenced by all the love and appreciation here. But even that is relevant to the times/places. I do think, though, that if you want to find an Anglo-American equivalent in organity to this type of straight-line "accent", for this era, you have to go to the country/"hillbilly" folks, and THAT vibrational system turns a lot of people off as much as Jug's does...maybe even some of the same people get bugged by both, I don't know. Now, let's see the Venn diagrams showing the Hank Williams/Gene Ammons audiences, then and today. My hunch is that the less "foreign" both become, the bigger the overlap will be, although there will always be one, some things are deep enough to get under anything.

Yeah, there's still a few OJC LPs that have not made it to CD. Don't ask me for specifics, though!

Minor correction - OJC started later in the 1970s, after the 24000 2-fer LP series ran its course. And then began the rebuy of things you already had...or not. Depending on the item and the liner notes, I could prefer the 24000 series to its original artwork single LP counterparts. Liner notes could be either skim or stupid back in the day, and sometimes a contemporaneous essay was preferred. Sometimes. Weinstock's Prestige was running a "Historical Series" in the late 60s & earliest 70s, though. But by the time the OJCs came around, that was Fantasy.

He's got a show, Wednesday nights at 10 on USA Network. Him and his sister and a few of their pals show different ways to deal with boorish behavior like that which you describe.

What else more did you think I was saying he had in play? Just curious. There are a lot of distinctive voices from a lot of different places.

Fuck Linkedin, just jam some Von!

Regarding what Clifford Jordan said...yeah. That shit is hard. Not so much for the fingers as for the head and the heart, giving voice to all those phrases JUST right, time, place, accent, inflection. Knowing what to play and then knowing how to play it so there's no misunderstanding or dropped connection. Maybe on "blowing session" dates he would sometimes eventually become redundant, but oh well about that, life is not just a blowing session. Talk about trap music... The guy really was one of the great balladeers of all time. Soopy, show me that overlap between Esther Phillips fans and Gene Ammons fans. Just a thought.

JVC, maybe?

Dude, you live in NYC, right? Look up a cat named Elliot Alderson, he can help you out.

Damaging, but not usually fatal, or even crampy.

What I recall most immediately about this one was how "stealth" it seemed,. Henry had been having a long run of band albums, strong bands, essential bands, definitive bands, and now right in the middle of absorbing Very Very Circus, here comes this, NOT a band album, a ccomposer album. Seems like a minor difference, but in real time, it seemed like a big difference, almost like a "solo album" except.... What it did show, as did X-75, was that Henry Threadgill's music was not just about writing for a band. Although he has been one of the ongoingly brilliant exponents of that type of writing in both the 20th and 21st centuries, he can also function quite well as a "composer" composer ( I need a better way to say that...), his ideas can accommodate any instrumentation, and vice versa, not just as "vehicles", but as compositions. That's how I remember this record, as a "composer's record" and a very enchanting one at that. To Guy's point, I am never "happy" when a great instrumental voice is not present. But with Henry still directing that music, the spirit voice is still very much presrnt, and that works for me. Contrast that to the record of Julius Hemphill's saxophone sextet music made after Hemphill had died...so close, quite good, but just not the same. So, if for whatever reason Henry chooses not to play, as long as he's in it, he will win it.

Did those Milestone things just replicate the old Riverside issues from the earliest bays of that label? My "in stock" Amazon copy has yet to ship, but now y'all got me looking forward to when it does.

Iirc, they got a zonk.

Three, per Stan Getz iirc?

The Urbie Green is what it is, but as far as that goes, it is a very good what it is. Just don't have any hope that it's going to be anything else.

After dinner, the "music business" can be thought of as a kind of relay race, everybody's got their leg to run, and not all legs ask for the same thing at all times. And handoffs can get botched by both givers and receivers. But...In both "music" and in "business" you got motherfuckers who say fuck a baton, never mind the cats who say fuck the track, I'm running in the woods And some cats do shot put. Go figure them. Music Business. Two words, not one, a necessary distinction, not an unnecessary repetitive redundancy. The math, she speaks for herself.

What was it Duke told Columbia...It's my job to make the records, it's your job to sell them. And..."I've made this, I wonder if any body's interested" and "let me make something I know I can sell" are not even the same thing. And there are a lot of points in between. I mean, I love Reese's Cups, and you can sell peanut butter and chocolate on their own from now until the day after the end of all time, but peanut butter is not chocolate, ever, and no, I don't always want a Reese's Cup. and more than that, try making mole sauce with Reese's cups, but seriously, no, don't try that, what are you, stupid? Post-ironic deconstrutionist? Either way, just don't try that.