JSngry

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?

Pietro Domenico Paradisi Hevan Patel Gloria Gaither

I might be too old for this one by now?

In all fairness, the only real reservation I had wasn't about whether or not it was going to be good or not, I mean, hell, that much is a given, but....I've listened to a lot of this type of music and am trying now to hear more other types of music while I still have the resources to enjoyably do so. To that end, yes this release was more than just more good jazz of this type, it's actually personally illuminative because, again, Sonny Red. One of those guys for me, always seemed like there was more to the story than was on the records, and sure enouh, here's at least some of that more. Othrrwise, it's fine music by all hands. If my implication was otherwise, my bad.

Yeah, and I like it for what it is, and because it does add to a better/deeper/whatever picture of Sonny Red. The more that might matter to you, the more you might want this one.

Yeah, it's a good record.

Alex Sipiagin Jimmy McPartland Wallace Roney

Neither pro nor con on Jeri Southern, is this some kind of a game-changer in any way?

Watched I Smile Back over the weekend and was so immersed in Sarah Silverman's seriously believable performance that it wasn't until afterwards that the movie as a whole was kinda skimpy really became apparent. But jesus, Sarah Silverman...

Was gonna make a well now we know for sure where Waldo is joke, but after reading that list of credits all i can say is wow, what a career, RIP, here's to serious chops. Judy Jetson!!!

I think it's OK to know the difference between a chicken and a duck, if only so you don't bring it to the table with it's legs straight up, or do, if that's the intent. Otherwise all them childrens line up for the assjuice and nobody's the wiser.

Fair enough, and his record(s) speak for themselves.