JSngry

Reminiscent of, what, "Beyond All Limits", maybe? Not exactly, but in gist?

"nowt".. love it, for real, flayvah!

The song itself is essential one big set of turnarounds. It's diatonic paradise, you start to move and then you come back, you start to move and then you come back, oh, here's the bridge, it's an 8 bar turnaround, you start to move, looks like you will move, and then you come back. When you start extrapolating things out of the harmonies, you do move, and in and to any different number of ways and places. But you always come back. It's comfortably and popularly "American" in that regard, noises and great chatterings about movement and progress, then it always comes back. And then you do it all over again. Keep in mind that people were already questioning the wisdom and the potential ongoing viability of this form of cyclic inevitability more than a half century ago. Decisions have long since been reached and acted on too. Also note that the notion of "the one" in actual RHYTHM music very much supports the notion of travel and return within micro and macro structures. But that music deals with time, and pop songs of the Gershwin ilk deal with measurement. Still, the impulse to start someplace, leave it, and then get back to - in some form or fashion - it is pretty much one of the, if hot the most, defining factor of evolutionary behavior of all living things.

You know, I think I pretty much dig what you're trying to do, but....wow, that's really ignorant. Really, really myopic in historic knowledge and totally finite (shrinking, even) in terms of a landing point from which to gain useable traction for forward movement. You'll find it difficult, if not impossible, to move past a Post-Colonialist Escapist Confrontation mindset into a Pan-Human Pangeic Awakening by thinking that the great "revolution" of jazz was that it brought sex to music and people where none had existed before. People all over the world have had fuck music, and not just recently. Or are you implying that "Europeans" are uncomfortable with fucking in general? Consider also that the reductionist term "European" has no real meaning past geography. And also consider that equating "African-American" to "European" is akin to equating "Shortstop" to "Baseball Player". Or is the point that "African-American" music was/is more comfortable with "sexuality" than is "African" music? You want to talk about a real revolution of the musics of the African Diaspora, start thinking in terms of time (literal time), pitch, color, all that other stuff, how here was the sound of a tradition that did not recognize a strictly symmetrical/fixed system of physical and metaphysical measurement colliding head-on with one that found comfort in the knowledge of exacter measurements and finer classifications. Let's talk about Warm Weather Physics meeting Cold Weather Physics, hell that's a factor in musical inclinations even now, right here in America (but note BOTH Physics are valid strictly within their own points of reference). People Of The Sun and People Of The Ice are still People, both Ice and Sun a part of the Creation Of The One, Ice Caps melting, is anybody really saying Go Sun Go, MELT THE FUCK OUT OF ALL THAT ICE? When Worlds Collide, neither are left intact. And a failure to recognize Before bodes ill for an ability to recognize After, never mind moving ahead instead of flailing about. Or you can cast the show as Shakin' Black Asses Made Weak Sexed White Folk Lead With Their Dicks, Yakub Defeated!!!! I'm sure there's a market for that, always has been. EZ Metrics For EZ Peoples. Ask an easy question and you'll get an easier answer. Okie-Doke! Seems like a totally non-logical plan, to engage 21st Century evolutionary concerns with 20th Century logics, but then again, that does seem to be all the rage these days! Me, I believe that the man got it right the first time - free your mind, and your ass will follow. In that order.

Along with Here. My Dear, it is also one of the most intense more-or-less-real-time breakup albums ever. Over the last few years, I've been up and down, mostly down" with the whole GAS thing, I mean, it's time as too much more than revenue-generator is past and not turning around, but the thing about that stuff at its best, as here, was that if you got a singer and a ban who were really feeling the son, the lyrics, the melodies, the changes, the orchestrations, you could cut straight to the heart and get to some places that "popular music" in general are not really concerned with. In other words, you could make it onto soul music. And in that sense, this is one of the most soulful records of any kind of music that anybody has ever made. "How Will I Remember You"....that's about as real as music gets, Not the only way to get there, but definitely there, hard.

I was not aware that Joseph Orange was on any record other than Fire Music, Now I see that he was! https://www.discogs.com/artist/256584-Joseph-Orange I might have bought this on LP over the last few years, but have not listened to it if so. I do want to hear Oliver's writing, and Bruno Carr is a no-brainer. And Earl May, never a minus, ever. As far as tunes go, the one I'd really like to hear off this record is "If You Gotta Make a Fool Of Somebody". I think Herbie Mann played the melodies of these type of R&B songs in a very organic way. Why/How/Etc. hell if I know, or care really. "Never Can Say Goodbye", different period, but gain, melody played very nicely, imo. Soloing, eh, whatever, but if you really wanted to buy a Herbie Mann record for just for the soloing...that day had come (such as it did) and gone. But the guy did have a way with a melody, a ballad, especially. If I end up not having this, or find that I have bought it as an Oliver Nelson artifact or some such, I will have to consider looking for a legit CD copy. Oliver Nelson, Bruno Carr, & Earl May, that alone makes it worth paying something for!

So what are you saying here, that one of them faked both of the other one's death? There was a time when I would have scoffed at such a notion, but, as you and all the others here imply, these are not that times.

If it was "finally found after 30 years", it's only been "missing" since 1986.

Does he talk about wearing the overalls with The Messengers? I always wondered wtf that was all about.

Gotta get the Marshall Royal book in there. I read that thing through in one sitting, it was that concise, that compelling, and that convincing.

We'll never know for sure now that they're dead.

To the best of my knowledge, nobody's every done a systematic appraisal of all the different bridge structures (the "B" in the "AABA" from) used on Rhythm Changes tunes. The III7-VI7-II7-V7, what Gershwin used in his own song, is still the most common (to the extent that creative - as opposed to reproductive - African-American Classical Art-Form practitioners still engage with this structure), but there's an interesting subset of historical works that have either extrapolated from that basic math or replaced it altogether. Probably not coincidentally, the more "advanced" the musicians became in dealing with more than basic diatonic harmony, the more types of movement began to be inserted in those 8 bars, just as the musicians became more flexible in moving around the A-sections, changing it from a series of repetitive standing in place kind of mannequin revolving on a turntable in a display window into a fully mobile means of navigating in and out and up and down and around and through a landscape that keeps coming back to the same place, the realization being made that you might have to get back to the same place, but you don't have to take the same route every time. And then, the decision being made that maybe that cycle was not really as useful as it once was, and as long as we're creating new avenues, let's build them in the service of creating a different destination.

C'mon guys, a great jazz musician has died and taken many great years of television to the grave with him as a result. Show some respect, perhaps even some grif.

Cultivating an image? Miles? What is this, 1953? 1949?

I lol at any thought that the butt-kissing was not mutual, not consensual, and not eyes-wide-open. How do you sell mystique? By allowing access to it. And what access sells better towards the end of a life's arc than direct access? Like it or not, Vincent Wellburn, family, is in charge of the legacy now, not Bobby Bookkeeper, and/or Lewis Lawyer. That did not happen by accident, and it also happens less often than it does. So, yeah, more power to Miles for playing the game, leveraging his assets, and going out with something real to leave behind to his family, not something token. Not just raw assets, but the power to run with them.

I'd like to think that this music is capable of generating more than bullet points for an Adult Education lecture.

Is this the same guy? I don't hear any saxophone so how do I tell?

Is it too soon to say that she never fully convinced me? Either way, RIP, and an interesting life, no doubt.

Thank you for bringing this to my attention. I have often wondered who this guy was, now I know. Again, thanks,

He went home. Can't blame a man for going home if he's got one to go home to.

Oh, ball games were GREAT. That's one experience where whatever crackle and fade-iness there was added to the urgency of experiencing a game with no visual input at all, Deep emotional investment in something that could vanish at any time with no predictable return time. Once in a great while, it would be a critical situation, the ball would be hit and then the signal would fade out, and you're like oh SHIT what is happening???? and then it would fade back in to the roar of the crowd, although for what you weren't yet sure...whew! It's just a different way of experiencing things, not better, not worse, just different. And the kick for me is in hearing things that would have NEVER been heard over a transistor radio back in the day (unless, of course, you homemade spliced it and diced it as mentioned above). It's what I can only describe as an experience merge, merging a past experience onto a current one. Let me tell you what I DID hear on an AM radio, in real time - Revolution 9. WNOE AM in New Orleans played the entire White Album from start to finish on a Friday night either just before or just after its release. around 7PM Central time is when they started. That was one of those stations that came in stronger as the night went on, but very seldom came in "loud and clear" (and if you lived in the right place, sometimes AM WOULD be loud and clear). So, you know, in and out with the songs, mostly in, but hey, my first time hearing the record, I'm all young-teen awed, and then...WTF??????? couldn't tell if the radio had gone bad, the radio station, the record, just....WHAT THE FUCK IS THIS????????? Different world.

Damn, that's some stupid shit, way to go Cabaret Card Cabal. Assholes.