JSngry

Ryan Truesdell's two Gil Evans Project CDs are uber-outstanding.

I have the version with the cover you posted, and old green Masterworks label, and the kind of low-level even surface noise that seems completely appropriate, as the music is still clear as hell and pops right through. That low grade background hiss almost creates the illusion of it being played live, outdoors, which is a pleasant image for me, anyway, just walking around outside and there's duke's band playing all this elegantly complex music of songs that everybody knows, just not like how they end up. Funny, the first time I saw/heard the record was from a college acquaintance who also had an original 78 set of The Jazz Scene. He wouldn't let me borrow that, but he would the Ellington. that record just knocked me out, never had any idea that that era of the band ever recorded charts like that...it was Sonny Greer's last session it the band, right? All those kaleidoscopic, whirling variations of tonality and color and rhythm, and arrangements that were written long, you know, not made long by opening up for solos, it was all....flooring, really. Finally had to return the record to the guy, and was bummed about that. Went looking for a copy, seemed that all that was in the stores was the modern reissue, blue-themed cover, maybe even rechanneled stereo, definitely that skinny vinyl, didn't want that, stayed away, finally a few years later, found that same edition, same cover, same label, hell, seemed like the same surface noise. Maybe the guy got tired of it, or maybe he lent it to the wrong person. Either way, I bought it on sight and nave had it ever since, such a gem of a record, and still not spoken of a notably in the Ellington canon as I feel it should be.

Olly Wilson's song cycle Of Visions and Truth is a seriously badass work. Music which once heard is not forgotten. Mary D. Watkins writes very affecting music, but Olly Wilson draws blood.

Mothra Johnny Bothwell Thoth

Write!

Side 1 or Side 2? I'm a side 1 guy myself, totally hypnotic. Tattooed Bride breaks the mood, a lot, so I usually just play Side 1 for a day or so.

This is why I was never on board with trading Mitch Morelsnd: http://www.lonestarball.com/2016/8/9/12415052/texas-rangers-rumors-prince-fielders-career-is-over-per-ken-rosenthal Hate for this to be happening to Prince, the guy simply radiates good vibes.

Yeah, it's fine in Chrome now. Good pointer, thanks. Wonder what the hell happened in/to the Android browder, though. No issues until last night. Ah, cleared the Android browser's cache and all is well now. Funny how the classics really don't ever go out of style...

So, yesterday evening this site started showing up all "thready" on my phone, while remaining as usual on the PC. The current Android view sucks, it's very minimal, everything is a link, posts don't look like posts, posting boxes are tiny, editing images is, I think?, impossible, etc. I've gotten this view on PC before, and have always been able to find some kind of buried setting switch to reverse it. But not on the Android view. FWIW, orgainissimo.org looks like it always does, nice normal website. But getting to the form from there still gets the undesireable view. So, is it an Android thing, is it a browser thing, or is it a site thing?

Well, on the one hand, liberated art. On the other hand, "prison labor". I think there's a discussion to be had and a few monies to give out, although how much, really, probably not all that much. But at least make it look good, "free world".

Whoa, Mr. Takahinto finds King Fleming with Malachi and realizes he's been waaaaaaaaaaaaaaay too late getting to that party.

Well, put me down for at least as much of that, then! The Chicago thing...is that Von by any chance? One of the Andrew Hill Ping 45s? Those are two questions, mind you.

It does sound like a Maynard band in terms of voicings and color...Marty Paich would be a non-surprise...but the big three of that band's staff - Maiden, Hampton, & Sebesky...don't know of any courses being crossed there. I will say, the recording quality (as heard through phone and earbuds) does have a Pacific Jazz studio sound to it, which is why I was asking about Gerald Wilson. That does not NOT sound like a Gerald Wilson arrangement using a reduced size band...but you say that leader/composer/arranger are the same person? Or do you not say that, do you instead say that each identity will come as a surprise. Also, that sounds like Perk's sound was in transition...that puts it definitely in the 1960s or later, I'm thinking?

I just wondered about that first cut, the ending, that was something like that the Dub Sextet does, random digital "goosings". The instrumentation doesn't match, just the sense of game. So it's Bill Perkins, then. Ok. Whatever band that is is seriously nice.

Will ther be any Naruyoshi Kikuchi Dub Sextet represented?

Posting from work, listening on phone, the traditional thanks and disclaimers fully in place, let's get monetized!: TRACK ONE - It's definitely something newer, judging by the sound and recording of the organ. The tune itself might be older, though. Or it might just be its and pieces of older structures . No matter, I like the drummer, am ok with the organist, and find the clarinetist to be an odd mix of somebody whose fingers and embouchure don't always feel comfortable with each other but are generally ok when left alone to themselves.. The Space Age Ending definitely betrays a more modern overall outlook. I'd like to hear more by the group before deciding if I'd like to hear more from the group. TRACK TWO - Seems as if I should recognize this song, it sounds like a show tune or a pop tune, rebuilt into this...oddly enough, what really comes to mind here in terms of aural memory is Brubeck's "Calcutta Blues" from Jazz Impressions Of Eurasia. Many things from there show up here (not Paul Desmond, though). Whatever it is, I like it, and would strongly encourage a go-back to the Brubeck piece mentioned, as it is not at all a "typical" Brubeck performance on anybody's part. Just for grins, the Bad Plus? or Brad Mehldau? TRACK THREE - Piano voicings suggest either Brubeck or Peterson. Solo more the latter. Tempo changes more the former. Pedal technique, neither. Drummer does suggest Morello...or Alan Dawson? It's probably nobody even remotely connect with any of them, but shit goes where it goes, right? But that last chord - Brubeckian. TRACK FOUR - Is that John Gilmore? That's a drummer too! Clifford Jordan, if not Gilmore? It's got that dark, and darkly recorded, minor hardbop thing going on, voices from the shadows, that kind of thing. People are fluent, for sure. But the tenor have the Chicago pitch, for sure. And the drummer the Max. Left hand piano, baaaaad....Mal Waldron? What is this record? TRACK FIVE - Grunting! Birdness! Vibes! Very clear recording! Nicely listening piano comping! More grunting! Not Phil Woods, although perhaps looking for some of the same work! No more grunting! Not bad! Not really...necessary, but not that much really is. TRACK SIX - Bill Barron? No, too-much Trane derivation...Nathan Davis, perhaps? No matter, it's frisky! The "All God's Children" allusion coming back in after the drum solo kills me. Somebody with real chops though, adding Trane, not starting there...I could almost go back to Bill Barron, but the tone is not consistently his, not that it seems. But yeah, that's some playing right there! TRACK SEVEN - Ok, that started of working really well for me, but the longer it went on, the more "performed" it seemed...excellent players all, no doubt, and maybe some more to be gotten from them than was heard here. But...a little more whispering, please. TRACK EIGHT - I like that drummer n bassist. TRACK NINE - That was effective. Nice. TRACK TEN - It's amazing how well they can record basses these days. And also how they don't even bother to interrupt for a commercial, they just put one over what's already playing and let it keep going. and it's not even a commercial! Don Heckman & John Benson-Brooks laugh at the very notion. TRACK ELEVEN - There you go, that's the difference between walking out your front door after getting out of bed and being dropped off on the sidewalk to meet the guy who's walking out his front door after getting out of bed. This is music that stretches in all directions and comes back when let go. TRACK TWELVE - Sounds like Pharoah, but not the band. Nice cut, sounds like an excerpt or a miniature. TRACK THIRTEEN - Gonna go out on a limb and say that this is a Maynard Band and that's Willie Maiden. It's all got that flayvah. A much deeper pocket than most Maynard records, though, so maybe not, or maybe an earlier band, but jeez does that swing. And I think I only hear one alto in the section. But if not that, then Bill Perkins with god knows who. That's a great band, for real, blend, phrasing, pocket, whoever, wherever, of all the things that can go wrong when charts get played, none of them happen here, none. Is Gerald Wilson involved in this at all? TRACK FOURTEEN - very quiet congas. Almost hits me like a Red cut, but not with those dynamics dramatics, not like that. No idea, but a nice cut for the subtleties. TRACK FIFTEEN - Wow, you have to really want to play that many notes for that long, so here's to doing the work and getting what you want. Here's also to doing it without getting that generic "NYC Tenor" sound in the process, especially to that part, really. Still got some homemade in it, and that's what I like to hear. Yeah. Good set, man. Not idea what most of it was, but we'll find out soon enough. all I can tell you that I've listened to it on ambien in bed and now soberly sober at a desk, and it's a good ride both ways.

I would ask myself what was happening on my external that might trigger the auto play procees. Does your external go to sleep or into some other power saving mode and then wake back up due to...whatever?

Produced by Don Davis. https://en.m.wikipedia.org/wiki/Don_Davis_(record_producer)

What I'd like to see is that Yardley commercial that spawned "Maiden Voyage", Does that even exist?

It was Stax. Enterprise was a subsidiary of Stax and they were killing it with Isaac Hayes records. Writeoff, investing, whatever. Chico Hamilton cut a side for them too, with Little Fear as his band. That record gave band credits. Consider also the possibility that Wess was playing over tracks, the band not being relevant to selling the product.For records like this, the real "story" is in the production credits, what was the business dynamic that put Frank Wess on the same label as Shaft? My hunch is that after Herbie Mann's big successes with Memphis/Muscle Shoals players, somebody who knew Frank Wess and Stax both figured hey, why not? If this was not the record that said because, this, the next one, Flute Of The Loom (?) was. I mean, Frank Wess, consummate musician no matter what, and apparently a good businessman, but Herbie Mann needed to make Herbie Mann records, not Frank Wess.

John Doe Fawn Hall John Deere

Found for a buck, very rare and random pops, 99% perfect shape. Seems like a good session, Ron Carter in tune and not sproingy at all. Howard Johnson filling uunorthodox roles all over the place, but I do miss a contrasting solo voice, and the recording seems muddled as hell...is this on CD, and if so, did they clean it up?

It was cut in Muscle Shoals fwiw. Could very easily be that crew.

I guess I would say that nothing happened on either of those records that made me wish that either one of those guys would go back to playing just that type of thing. No matter how good it was, it was not all they could do, or all they wanted to do. Which...is kinda why they stopped doing it to begin with. But they still come back to it, because, you know, what was that line from that Donny Hathaway song, you don't have to look 'cause you know it's there. Leon Ware song, actually, Donny Hathaway record.

Not a particularly good record, not at all,but this is where "Bulgarian Bulge lives. That and this: Proof, to me, that when Don Ellis was able to harness all that...whatever it was...In one place at one time, he could be one seriously dangerous motherfucker, in his own way, in his own world.