JSngry

Pithicanthropus Erectus Standup Comedian Upright Citizens Brigade

Timmy Martin June Lockheart Hugh Weatherwax

sorry, I will not cut your heads in half after doing all those other things, assuming that I do, and for you, I just might. But again, ask, don't tell. And along those lines... Well, if you're gonna be that way, then I have no choice but to ask... (note, there are many excellent Marlena Shaw records, especially that second one. She gets full props in my book, or more accurately, "book")

These guys?

So...the song got over way past what the movie did, it seems? That's a depressing thought, although icky pop songs coming from silly movies...the classics never go out of style, as they say. originally this! or, actually, this, minus the hit-warning sticker...

The Fluid side is the only one I'd not be in too big a rush to get hold of, at least not until you have all the others. Wasn't The Loadstar booted on CD within the last year or two? Or was it just predicted as a CD and then never happened? I don't know that a CD version would have the same power, though, I mean, you get up, flip the record over, and then they start playing again, not an edit of a continuous performance, like, a real time start, stop, and begin again, like a 78 only @ 33 1/3.

That Mainstream date should be better known and/or more available than it has been. Only two more documented recordings with him on it after this, 1974 & 1978. http://www.jazzdiscography.com/Artists/Kyner/kyner-disc.html Date: 1971 Location: The Record Plant, New York City Label: Mainstream Sylvester 'Sonny Red' Kyner (ldr), Sylvester 'Sonny Red' Kyner (f, as, ts), Cedar Walton (p), Herbie Lewis (b, vl), Billy Higgins (d, cga) a. a-01 Love Song - 05:48 (Sylvester 'Sonny Red' Kyner) b. a-02 Tears - 07:19 (Sylvester 'Sonny Red' Kyner) c. a-03 Mustang - 05:49 (Sylvester 'Sonny Red' Kyner) d. b-01 And Then Again - 04:14 (Elvin Jones) e. b-02 My Romance - 04:44 (Richard Rodgers, Lorenz Hart) f. b-03 A Time For Love - 05:19 (Johnny Mandel, Paul Francis Webster) g. b-04 Rodan - 04:35 (Sylvester 'Sonny Red' Kyner) All titles on: - Mainstream LP 12": MRL 324 - Sonny Red Blocks, shapes, whatever. "hmmmm...interesting" is a pretty high compliment imo. There is so much music, including music that I like/love for whatever other reasons, that is not particularly interesting, not really.

Elmira Teal Elmira Carpenter Teal Carpenter, School Nutrition director at Gloversville Enlarged School District of Stratford, New York (are they enlarged because of her nutritional direction or is she applying therapeutic remediation to their collective enlargement?)

Well, him and Beltre. But, yeah.

http://www.lonestarball.com/2016/6/16/11957882/42-25-colby-lewis-is-still-perfect-to-me-rangers-win

I dunno, Maria Gamino gives off the vibe of a pleasantly challenging co-worker, maybe.

Kwak Dong-yeon Neon Deion Sir Frederick Gas

So...that was not ginormous dollars, right? Meaning, as Dave suggested, it was an art-house thing, although apparently one that drew more than usual? Not unlike, say, Deep Throat", people went to the porn house to see that one who would not ordinarily go to a porn house, Mondo Cane Must have been ;like this, then, movie did not cross over into other venues, audiences crossed over to come to the venue, does that sound right? Just trying to get some picture of where this thing was sitting in the landscape when it was happening...mainly because of that wretched song that slithered all over the pop music of the day. It all seems kind of....Jack Parr-ish, something that got talked about as part of the popular conversation, even if it stayed urban and arty, something like that?

Frances Gumm Shin-Soo Choo Steve Swallow

Of all the many two groups of people into which the world surely must be divided, one would be People Who Get Gene Ammons & People Who Do Not Get Gene Ammons. Membership in either group is not a guarantee of anything, but now I wonder if members from each group who share a liking of other musics are actually hearing the same things? Which kinda gets back to the "vocal" music thing, how much of voice is words and how much of it is sound, perhaps one cannot understand the words yet still feel the voice? Also, what does the Venn Diagram of those who dig Gene Ammons and those who prefer to avoid singers look like? All of this prompted by a few evenings falling asleep to Gentle Jug and hearing a very common vocabulary sung, not spoken, SUNG, in a most remarkably natural and personal manner, you may or may not know the lyrics, but there is no mistaking what is being sung, if there are such things as supra-words, these are them. Has that record ever been OOP? God spare us if it ever should be.

Samuel Barber Omar Sharif John Mayberry

Kai Winding got a hit out of it, and pimped the movie's name all over the 45 and the LP, either contractually obligated or looking to draw in people who knew, or what, exactly? What was the American box office on this thing?

How did he get the name Chips?

Anybody heard this one? Saxes are listed as Nelson & King Curtis. I figure that KC takes the spotlight where there's any to be had, but you never know. And what about arrangements for the two horns, anything past the basics? Ordered it today, so answers will be forthcoming soon enough...

I watched about half of it last night and found it significantly more odd than I did brutal or anything. Definitely nothing shocking...but then times have changed. I wonder where this played, though, was it kind a grindhouse thing? It seems like it wasn't, I mean, Oscar nominated song, NYT review, sounds like this thing was mainstream from jump. Was it restricted admission, or was it fodder for the whole family? It all seems so silly today, the concept and the movie. That song pretty much always has.

I heard him with Maynard, actually, 1974, and he knew how to play that band, that size, that concept. This was when the book mixed poppish and straight-ahead, with solo openings aplenty no matter which. He was never too heavy, never too light, just right. Kept it moving but never hogged the wheel. Joel DiBartolo was the bassist in that band, just before leaving for Buddy Rich, I think. Jones & DiBartolo seemed to be having fun together. For that matter, the whole band seemed to be having fun. His work with Brubeck has had mixed reviews over the years, but if the bandleader liked him well enough to keep him on the gig for 35 years, hey. That's the opinion that matters. RIP, and nicely played.

Never saw this until recently, thought that with a theme song like "More" it must be some jet-set espionage/romance, but not, it's some funky looking travelogue of odd behaviors, I guess. So this thing was a hit? Why? What was the point? What was the attraction? Was this, like, a mainstream hit?

Cape diem!

Don't tell, ask, ok?