JSngry

That's one of the great Turrentine records, period, afaic.

Those Esther Phillips sides find Esther in very good voice doing very good songs on very contolled/stylized NYC Disco settings made by thistle the same people who were already making other records like that, only with some really...uh...flamboyant orchestration choices. I like them well enough to listen to them voluntarily, but probably not enough to recommend them to anybody who I didn't already know. But there is a lot of idiomatic playing on those records that is nothing short of epitomic. However... If you want a truly great Esther Phillips Disco record, you gotta follow her over to Mercury.

Roy Brooks also played saw.

And who wouldn't? I mean, you've got an endless supply AND an unlimited market!

Yeah, probably not. You do seem more art than commerce. Those are two different things.

Oh, but you would be doing something for the money. You would be contacting other businesspeople to work out deals and venues and terms. You would be going new places and meeting new people in the interest of selling the band. You might even buy some coke from the busboy to give as a gift to somebody you wanted to get to want the band. You would be busting your ass to get money coming in the direction of the band through you, and that is exactly what you should be doing. Yes, you would be doing something for the money. Keep in mind though, that the band won't be giving a damn about any of that because hey, you got your job, we got ours, now let's both do our jobs as expertly as we can.

Seriously, though, standards per Seare not a problem. Performing them on demand in the service of sustaining and enforcing a whole socio-cultural trapworld (thanks for the clarification, Karl), yeah, no "art" there, either in the making or the paying. Pure Product For Sale, enjoy your jazz and your cigars and fuck that bitch one time for me, boss, she's a fine one, she is! You know you're a true artist when you can buy coke at a discount from the busboy, because, hey, you're in the band and you play good.

And the more standards they ask to hear, the more the gig needs to pay.

No, the ones that are really Inspiring often pay as much as five or six bucks. The whore gigs pay a lot more, because no self-respecting whore lets themself be a cheap whore, but those gigs also cost more too.

But you would be happy to make money off the band, assuming that there was money to be made. As would I. But if there wssn't, we'd both be happy to go back to what we were doing before, our own separate things, each getting along just fine without the other.

Dude, I would love to have you be my manager, but I'd be damned If I let you within 100 miles of my rehearsals If you were.

Why are they practicing? To play better. Why do they want to play better? Because it feels better to play better. Do you have to play better to get gigs, oh HELl no. Does it feel good to get paid? OH hell yeah. Does it feel even better to get paid even more for providing a functional service and not for playing well? Before the cynical whoreism takes over, no. After it does, all bets are off. So I guess they are practicing to become cynical whores.

Allow me to call bullshit on that one. There is always art that is made for the sheer satisfaction of itself, with no market motivation spurring it's creation, be it jam sessions among friends, painting for ones own amusement, quilting, knitting, not just "craft", can definitely be art, writing poetry in private journals, etc. Also plenty of people who create who would not mind entering the marketplace but who also are not in awe of it either. They can take it or leave it. So unless you change the definition of "art" to make it by definition something that is created only to be sold, no, art is not commerce. Notice also that "folk art" did not become "art" until it was discovered by commerce, Until then, it was doing just fine by itself, so was it not "art" until somebody tried to sell it? Again, here I call bullshit.

Art is not commerce, nor is commerce art, but art vs commerce is by definition an ongoing interaction. And in any ongoing interaction, bloods gets spilled, but bloods get mixed. lifelong enemies are made, but so are lasting alliances. There will be whores but there will also be angels, mercensries as well as heroes. Traditional identities can be raped, pillagged, and plundered, but they can also evolve, grow, and strenghten. You just never know what will happen when worlds collide. You can pull for the good guys on both sides, and when some days are better than others, just remember that some will not be all.

Horace Ott Mel Queen Alvin Parlan

When he did live here, he had been settled In Plano for many years. Me, him, and Lyles all lived within a few miles of each other. In Plano. In the words of Myron Cohen...

About Madlib...the thing that really struck me about the Yesterday's New Quintet stuff was that it had all the noises and shapes of a jazz record without hardly having any of the literal notes, like this what jazz probably sounds like to a lot of people who like it, and even more who don't. I thought it was brilliant insight to make sounds like that, to take all the music out of the music and still have the music left over. That cuts to the chase a zinkabahillion times more than all the literalist reiterations combined. Maybe that's not his point, but that's what I got out of it

Shelley recently relocated to Houston, to be near family and take a teaching gig. He still comes up here for gigs, though. You'll want to hear his Ellington album, if you have not yet, and if you can find it. Strong stuff.

Is this the same label that did the Jimmy Giuffre w/Joe Chambers gigs? That thing was awedome.

Ok, thanks, I have heard trap music, then, but not by that specific name. I'm an interested bystander from afar, not an active participant...obviously. But as somebody who does, occasionly yet ongoingly, listen to local hip-hop radio, commercial and community access, just because Black Radio is something that has never not been a part of My Jazz Awareness, I feel very strongly when going from a day or two of K104 to KNTU that I've been taken from the streets, paved with fool's gold that they may often be, and placed in some world that no longer exists except by some type of unnatural intervention, endless iterations of That Same Thing, only "cleaner" in EVERY way, it's just creepy, especially when the occasional REAL That Thing gets played...it's like trotting out animatronic POWs or some shit, I don't know. But I can handle local hip-hop radio better and for longer than I can handle local jazz radio. Right now, though, between the Desi stations and the 50 Bajillion Spanish stations that each play a seemingly different variety of THAT Same Thing, hey, why stay too long anyplace where the food's not fresh?

Yeah....whoever the previous owner of that Pony side was knew better than to write their name on the cover. Clicks I don't mind, the occasional stuck needle, hey shit haopens, but this record either had coke snorted off of it or it got sneezed on more than one or maybe both, but the groove is, like, battered and scarred. Getting up to unstick a record every few minutes is just fucked up, and whoever did this knew better than to leave a trail. They ought to have an America's Most Wanted for people who treat a record THIS badly, it's not like Pony Poindexter on Inner City is Doug Clark and the Hot Nuts, this damage was not incidental or inadvertant. Somebody needs to have that John Walsh dude on their ass, like, stat. Josie Records, otoh...8 bucks...how much would a non-abused copy cost? Store credit if you ever get one in, dammit. Give me a fuckng fire extinguisher, this record needs some disciplining! And wow, one just went on for 2-3 minutes and then fianally played through right after I wrote that. Spare the hose and spoil the record, right parents? Just one more reminder that beasts run free disguised as humans. Beware.

Tommy Hopkins, maybe? Ted Wasser? Paul Guerro is unlikly, but not impossible. Trying to think of cats who could cut Clay's gig AND had Sundays off AND would be willing to do both at Chuley's pay scale. Shelley & Chumley were buds back in the day, like, lock the doors and pour the bar type buddies. People were younger then...bonds were more easily formed. Sweatpants, no problem.

Re: Alfred Lion, supposedly he attended "most every" mastering session for his records, and was the only label head to consistently so do. So he knew what he wanted a "Blue Note record" to sound like, and was there to see that it did. The reason I wonder about the RVG reverb is some of the later Muse sides, especially the Etta Jones records. If that's just all room, it must be an ungodly combination of the mike she was singing into and some stealth mike, like 5 miles up in the ceiling. Astute observation about the Madlibish paradigm shift, and please, what is "trap music"? Broken Beat was a real game changer for me, but as old folks are wont to do, it had already happened by the time I found it. Oh well, still want to know what the cool kids are up to, uh...last year.

"If there's a cloud up above us, go on and let it rain, I'm sure our hearts together, we can snort some cocaine." Direct bass AND coke reference, 70s out the ass!