JSngry

In spite of wanting to (for sentimental reasons) I find myself unable to like, enjoy, or even particularly appreciate this record. Not even Ray Brown can make it move, or even give it the illusion of movement. It makes me appreciate Stan Kenton as a motivating force, because the approach here is Kenton-ian in terns of section work, but by god, Stan Kenton got his bands to PLAY, ok? These shit is just....AAAAAAAARRRRRRGGGGGGHHHH. OTOH, coolest picture of Bill Perkins, ever, on the back cover.

I tend to like Sting better without Sting, but whatcha gonna doobowdat?

But that can work locally, at least for a while. It's ok, really. Part of "the problem" is this notion that "competence" can and will be standardized. Fuck it, if you have a key that opens the door, you remain competent enough. And when you don't, you don't. All I wanted was a quote, so I would know for sure that I couldn't afford it. Yeah, it was irksome that they didn't ever answer the phone, but if they got bands in there and if the key keeps opening the door, hey, right on, seriously.

Bob was not recorded enough as a player. As with his writing, he had deep resources and a constant sense of overt obliqueness, if that makes any sense. Some people make direct statements, others make commentary. Bob was a very, very prescient commentator. RIP, still. If we like this record, we will also want to seek out the Gil/Sting things that have come out.

I appreciate that, really, but it's been an issue on weekdays as well. Sounds like they prefer to be local, and god knows that is needed now more than ever, so good on and for them.

Talk about swing...

But if they wanted to sell it badly enough, they'd answer the damn phone.

His Sister Pam Rodney Grier Greer Garson

I think it's important to realize that actions have consequences, and that this music, and many other musics, was often neither created from nor driven by happy tranquil circumstances. Anybody who wants to get their Lee Morgan on needs to know what they are hearing. It is intense music from an intense life, don't let the distance of posthumous iconography lull you into a false sense of hipster happiness. I love the man's music, but...you know...There are some people whose roads are probably best left for them to travel on their own, get out of their way and let them pass on by, better to breathe the dust than walk in the footsteps, and yes, people need to know this. Now, having said that, the easythink notion of "troubled genius" as one thing instead of two - or more - things existing simultaneously has to stop, like, sooner than now. People get stupid and then stay stupid thinking shit like that.

Nor the Deccas.

Kansas Fields Ronnie & Trent Lott Lot's Wife

Wait, are you saying that the chick got the dude's records in the divorce and then held on to them until after he died? That's the Jazz ONCE Seen!

All Joe Turner Pablo records sound the same. Problem, officer?

What's the expression, if you have to ask...

Re-channeled simulated stereo, pretty clean vinyl, won't you come home Bill Bailey, she mowed the whole dawn lawn, all this plus banjo non-interruptus, just a buck in the discard bin at Half-Price, hell yeah, I'm doing laundry and liking it.

whoa...

Ability to make you own art, stand or fail!!!!! Seriously, though, the difference between some full sessions and other is how abrupt are the cutoffs. I really do like hearing the players voices, hearing their speech timbres and inflections. To me, that's a part of how they play, how they talk, that and their temperment, are the snappy or quiet, what kind of people were they bringing to their playing etc. That's why I love those talking records of The Lion, Hawk, Jo Jones, etc. Chico Hamilton. Lester! Yes, music is enough, but music is not all.

Shuvel Sam Spade Jim Ray Hart

Not sure that I am qualified to do much more than ponder this music, which is its own kind of kick, the joy of pondering. But I'll be dammed to make any claims to a deep, actual understanding. Too many contexts are purposely fucked with, it's a context unto itself, maybe, but then Olly Wilson and...world's are existing that give the appearance of being created, but nobody discovered America, if you know what I mean, it was already there, so not going to make that mistaken as assumption of presumption again, no

the Columbia one got all the noise, but as mentioned before, the Polydor release was actually better music, imo, with a lot lower profile in the market. Released later, pushed less.

Digital. Programmable output. Built-in solution to a non-existent problem.

Also, those early years covered a lot of different grounds, always things made for the jukebox market as well as for the "pure jazz fan". Is this a comprehensicve look at ALL of Prestige, or just the really well(ish)-known survivors?