JSngry

Also, consider this - in the American south of yore, the Venn Diagram of Black SpeechSound & White SpeechSound probably had a bigger intersection than not. I remember as a kid going up north to visit my dad's family and they all joked how my Mom "talked funny", and then coming back home and hearing blackfolk talk and it sounding like home. And then, travelling through Louisiana, Mississippi, and Alabama, good lord, there were white people there whose speech sounded like the black folk's back home, as far as just sound went. There's plenty to consider in all of this if you want to really get into it. Maybe not so much if you're just looking to brand or otherwise distinguish your product, honorable as that can end up being.

I got that live thing just for Warne and was pissed. They hardly give him any spots, and really, what did he call it? Charlieparkermusic? Yeah, that. And then I read where the "regular" guys in the group thoguht that Warne was "weird" or some shit, so... I got excited about that first record on Capitol, but I was, like, 18, and hadn't heard all that much Bird yet. Ok, appreciation for sincerity and skill, but...not a whole records worth of that for me, thanks anyway. Especially w/o Warne.

Trying to remember the Muddy quote, trying to find it so I get it right, but can't, so...I think this is almost it, something along the lines of "White boy can play the blues, sure, white boy can play rings around me. But ain't no way a white boy is gonna SING the blues better than me, no way". I get that, just as I get that it's not as much a "black thing" as it is a somewhat chrono-geo black thing that relates not just to blackness (although, god, yes) but to a type of blackness that involved aspects or region, labor, class, morals, aspirations, self-image, all that good stuff, that as time goes by has either disappeared (almost), evolved, or been corrupted both from without and within. I had a funny feeling when Robert Cray came on the scene as some kind of "blues" figure. It's only increased since. Whatever all that is, it's not that. Hell - some people make it a point today to learn dialects at a more than superficial level. And if you learn to lie to somebody in their own voice, shit, hello ALL the money you can eat. I can tell you this - there are still places in the American South where it is hotter than hell in the summer (people who have never lived in a warm-weather climate...you should try it, just because), and there are still fields and woods where you can find yourself alone with just you and the voices inside your head and all of sudden somebody or something pops up and you god only knows what that's gonna be, and where you can still find people who have this perverse need to swing their dick into your head and leave it there, there's still all of that, but there's also satellite, cell, fast cars and trucks, and people of all colors & first-languages who run up against that these days. The borders are different now than they were then. But Koester is right about what it is, I've had the experience of going to see friend's grandparents in rural southern areas, and...I don't think there's that many people who talk like that left, not unconsciously. Seriously, the sounds, the rhythms and pitches and inflections...the slurs, the merges, all of it in the service of just talking. Geez, voice is awesome, words are not voice, voice is sound, words are notes. And yes, "blues" is primarily a vocal music, not just for the singers, but for everybody involved. But as far as what it "isn't", I don't know. And as far as "most whites", geez, I say this advisedly, because it's a rightly loaded subject...I know very few whites or blacks these days who speak as they speak in a fully unconscious manner. We are not those people anymore, none of us are, not unless you go waaaaay back in the woods, rural or urban. And the more you get lied to in your own voice, the more normal it becomes, and then when you hear the real real deal, it gets hard to not think that it's just a better lie than you're used to hearing. And of course, that leads the cynic in me to ask - is Koester observing here, or is he selling?

Dialects and accents are very complex affairs.

Wow. The Eiseman. That's a weird place in terms of bookings...same place where I almost went to see Doc Severensen a few years ago, all kinds of "second tier" events that still draw crowds and command not-always-cheap-yet-still-affordable ticket price, the kinds of things that give "suburban" a rightfully bad name, who knew? Would that have been history repeating itself, imitating itself, or mocking itself? OTOH, it's a gig. Probably a gig that leads to further gigs (playing, clinics, endorsements, whatever). Nothing like the old days to be sure, but very few players these days can just work one band and make a living. Having said that, it's probably a pure ghost band by now. I think once upon a time they tried getting players who could stretch the material, and maybe they still do, but...I'd go hear them if somebody treated me to the tickets. But any of these ghost bands, be they big bands or 50s bands or 60s bands or 70s bands, however old they are, bands that used to have hits and no longer have any expectations or ambitions past playing nostalgia circuits just to make a living, I give props to the business chops it takes to keep that type of thing going, and I'm happy to see players with ongoing band gigs. That's getting to be a rarer and rarer option. None of that has anything to do with music, of course, but other than being professional and getting/keeping a gig without drama, drugs, and/or death, none of this does.

No, not even. http://www.bloodsweatandtears.com/ They got gigs, not a buttload, but enough. http://www.bloodsweatandtears.com/tour/ You gotta feed the band! http://www.bloodsweatandtears.com/~blood/files/4213/9759/8063/BSTCatering2013.pdf Who are these guys? THESE are these guys! http://www.bloodsweatandtears.com/members1/

LiPuma/DeCaro producing/arranging again, this time on a Van McCoy song...fine.

Cricket Blake Skeeter Davis Madyke Tyck

Regarding Midnight Walk (which is indeed a very good record) there was another Atlantic side called And The Again, which I was completely unaware of until Collectables issued it on a 2-on-1 with Midnight Walk. And there was a semi-third Atlantic, the co-led date with Philly Joe, on which Hank is also present.

What did Muddy Waters say?

Of all the tenor players Elvin had on those BN records, George Coleman is the one I felt best brought all that needed to be brought. I do confess a soft spot for Heavy Sounds, the impulse! side he co-led with Richard Davis.

The nifty part is that almost all of them are on that Stranger In Town CD, which was the one I was waiting on to complete the Nelson session. The remainder are on Gentle Jug V2 which remains an easy pickup.

Yeah, we spend so much time seeking an avoidance of restrictive labels that it actually sounds pleasantly liberational, unlike "ownership neutral" which is sorta nervous & manifesto-y.

A.A. Milne A. Whitney Brown C. Sharpe

http://www.jazzdisco.org/mal-waldron/discography Oh, i see. Gene Ammons QuartetGene Ammons (tenor sax) Mal Waldron (piano) Wendell Marshall (bass) Ed Thigpen (drums) Rudy Van Gelder Studio, Englewood Cliffs, NJ, September 5, 1962 3573 Light'n Up Prestige PRLP 7320, PRCD 24266-2 3574 Short Stop Prestige PR 7400, PRCD 24266-2 3575 They Say You're Laughing At Me Prestige PR 7400, PR 7708, PRCD 24155-2, PRCD 24266-2 3576 It's The Talk Of The Town Prestige PR 7369, PR 7708, PRCD 24155-2 3577 Salome's Tune Prestige PRLP 7320, PRCD 24266-2 3578 Blue Coolade Prestige PR 7400, PRCD 24266-2 3579 A Stranger In Town Prestige 45-336, PRLP 7320, PRCD 24155-2, PRCD 24266-2 3580 You Go To My Head Prestige PR 7369, PRCD 24155-2 * Prestige PR 7400 Gene Ammons - Sock! * Prestige PR 7708 The Best Of Gene Ammons For Beautiful People * Prestige PR 7369; Original Jazz Classics OJCCD 980-2 Gene Ammons - Angel Eyes * Prestige PRCD 24266-2 Gene Ammons - A Stranger In Town * Prestige PRCD 24155-2 Gene Ammons - Gentle Jug, Vol. 2 * Prestige 45-336 Gene Ammons - Velvet Soul / A Stranger In Town Jesus....

?

Well, there you go then, that's in sync with those liner notes, tone and chronology. Finally got the 3rd Gene Ammons CO in today, so looking forward to checking out tbe Nelson-arranged session in toto. Also have the CO date on deck, and think I might have a blogged MP3 of the Clea Bradford record, so...we ain't yet done here, not yet.

I love that record. Took me a while to find it whole, though. Used to have just two cuts as the 2nd side of an Eric Dolphy Everest side (sic), then found an OP at Canton First Monday Trade Days for a buck. The same stall also had a sealed copy of the Head OST for the same pruce...those were the days... Talk about a "feel album"...that record also has some of the best "feel" liner notes ever as well, by Frank London Brown, Associate Editor Of Ebony Magazine. Don't know who he was, but he was not afraid to project attitude.

Gay Talese Lyle Talbot Gilbert Bates

Value for your jazzdollar, eh? Wess could cat around with the best of them, even if that's not what he's best known for. That Benny Green date on Vee-Jay with Jug, Wess, and Frank Foster, hey...talkin' that talk, as they used to say.

Listening now, have had the Sonny stuff for yesrs, first on Moon, then later as part of that Solar set. It's good to finally have it in a version where hopefully somebody got paid at least once. The Horace set is not as well recorded, but is more than good enough for me. The band is in a good groove and unlike the Rollins set, these are all new performances to me. So we all good on that. It was a little pricey, but I've paid more and gotten worse, both musically and ethically. Add: the miking clearly favors Horace on this session, and it's a treat to hear both his comp and soloing in such fine detail. He was one of those cats who, no matter how much "letting go" he liked to project, never left any detail to chance, certainly not concerning his playing. His details are always worth noting, all of them.

Road trip!

Thalia Menninger Otto Preminger Henry Kissinger

Sugar Ray Robinson Robinson Crusoe Enrico Caruso

A Man From Nantucket The Man From U.N.C.L.E. One Of THOSE Guys