JSngry

And Asner had been preceded by William Scahllert, her TV dad.

A hot dog made her lose control. Whether or not that was before she lost all sight and hearing and then married Gomez Addams (or was it George Adams, I always confuse those two, what with the eyeballs), I don't know, but a hot dog is a mysterious thing, to be sure.

Hopefully good news on all fronts!

Mungo Jerry George Gershwin Chrissy Snow

Finishing up on this one today...very satisfied. Perhaps not revelatory, but certainly revealing, as this particular band never recorded anything this open and stretched out. Imagine Windows Opened only live and unrestricted (and with Linda Sharrock popping in for a few tunes), that's pretty much what you got here. It was a strong, young band, not particularly concerned with being "commercial" past the point of repertoire. And - anotehr example of how when you went to hear a "name" band in the late 60s or 70s, you were liable to hear any damn thing from complete conformity to complete phoniness to any point in between. Say what you will about Herbie Mann as a player, "popular artist", etc. he was like Miles in that when he hired you to play, he hired you to play you as well as to play the gig. With this bunch, hey, good times! I LOL at Steve Marcus on these sides, it's like the guy tries to play R&B tenor, he really tries, but he can't help himself, sooner than later he ends up doing the Trane-isms, and not once is there a sense that Mann is vibing him about it, no Herbie just lets him play on. And ok, yes, perhaps revelatory - Sonny Sharrock playing totally inside (and in the pocket) funk comp. Not that it's not on record at all, it is (and with Mann), just not this thoroughly documented. It was on the Hold On I'm Coming side with Fathead (another fine live Mann offering), but that sound was real echoey. This is clear as a bell.

You might want to let him know that he owes Charles Tolliver some money.

The only thing I can think of that I've not yet bought back (sigh...) is Sandy's Album Is Here on Verve, by Sandy Hurvitz aka Ezra (sp) Mohawk, produced by Ian Underwood, iird, and with a.o, Eddie Gomez & Jeremy Steig in the band. It's around, but apparently Ms. Mohowk is now some kind of cult legend, and copies are priced accordingly, meaning that I'd give, like $5 for a copy, not $15 +. It's not even that good a record, to be honest, but there's a personal story I have with it the durability of which I failed to appreciate when I let the record go in the late 70s for not very much, pre-Cult Stardom. Apart from that, nothing I can think of off hand, although I wanted a copy of this after passing it over in a Ben Franklin budget rack in my high school days!

I'd have no hesitations about dealing with a seller who says this:

Happy Dyngus Day? Play Mingus Dynasty all day?

Having a first listen right now, and, yeah, very promising, the opening cut is listed as "Untitled", but it's "Paper Man", somebody gonna owe Charles Tolliver some money. Smoking band, not a weak link, and it sounds like it was a hot gig for all. And yeah, In Bruno Carr I Trust. Definitely.

My exposure to David Baker was limited, but in all cases meaningful. Our (overly) ambitious high school band director bought those octet(?) charts he published through Down Beat. Don't ask me why. Needless to say, we did not, at the time, have the skills to figure out what the hell was going on, much less how to do it. But the notion of there being such things made a lasting impression. Baker's solo transcriptions in Down Beat, all of them in that unique font he used. Playing through them without know how the record actually sounded was a trip, especially when I finally did get to hear the records! Armstrong, Monk, Pharoah, Roswell, and more. Same thing for Bakers book of trombone styles and analysis. Finally, spent a week at an Aebersold clinic where both him and Slide Hampton (and Dave Liebman and Rufus Reid) were on staff...endlessly fascinating answers to whatever questions you asked, as well as some you'd not yet thought to ask, musical, business, cultural, whatever, True education. I still recall the first time I played for him, he stopped me and said, "AH! A Lester Young guy, you like to take the express, not the local, right?" This differentiation in preferred methods of travel made so much more sense to me than did "horizontal" vs. "vertical". He seemed to dig it, and that was so encouraging. Didn't think too much of his cello playing then (January of 1980, I think it was), but otherwise, geez, what a spirit, one of indomitable generosity, delivered with full frontal facts and opinion, and no, you never had to guess which was which. RIP, and much thanks.

Yeh, I pre-ordered from Amazon. Seems to be a sure-fire way to get items like this. The intial proces is a bit high, but it always goes down by shipping time, and you pay the low price then. I did the same thing with the new Larry Young & Herbie Mann things, and have already done so with the new Sonny. Pre-order early, sit back, relax, and forget all about it until it shows up,, and then, happy surprise!

Forrest Tucker Milton Berle Erroll Flynn

The dude's, like 46. Middle-aged. Medical shit starts to happen no matter how crazy your youth was and/or wasn't.

I always liked that one too, and not just for Toots. Larry Schneider hits some interesting between-the-cracks-of-Trane thing, if/when one has the patience for waiting for such things.

Koo Stark Richard Starkey Akbar Starkley

Geez, I could have left after the first movement of the Bartok with enough information to mull over for at least a few weeks afterwards. But there was more, so much more... I felt that van Zweden is still "working through " the Bartok as far as bringing a trademark interpretation to it. There was not hesitancy or rote-ness or anything like that, but there were passages where it just felt like that if you were to go here him conduct it a few years from now, those passages would have been refined past where they are now. Actually, that was a good thing, it very much gave the music a feel of in the moment "struggle", not of aptitude, but of vision. Hearing something that is already very good and sensing that it will at some point, be even better...that's a thrill in itself. And the composition itself, yeah, how much music can one piece hold? That a serious question, because like i said, the first movement alone was....whew. Kavakos brought a nicely sawing attack when the music called for it, and an equally nicely lyrical quality when that was what was needed. The "Hungarian flavor" is always something to look for in Bartok, and I don't know that he brought it in the literal sense. But he did play with passion, and did not back away from what I guess is his version of a "folk" aesthetic. In other words, sometimes he was a violinist, and sometimes he was a fiddler. A very engaging performer. The world-premiere Borstlap piece led off the second set, and it was...ok. The first thing I heard was that it played the continuous looping of theme re-entry that Strauss brought to a peak in Metamorphosen. But it wasn't just that. Unfortunately, with just one hearing of a literally new piece, I can only say that I don't see it gaining traction unless and until somebody finds more to it that was done last night. Which could happen. What did happen, though, was that van Sweden & Co. played the shit out of Beethoven's 5. Is it at this point overplayed? Perhaps, although does true genius ever wear out its welcome? More to the point - is it easy to get over with expertly playing the piece the way that people have come to expect it, just don't fuck it up and let everybody be happy? I think the answer to that is certainly yes, and that type of thing probably goes on more than we'd like to see. van Sweden, though, did not make those choices, and whoa, what a ride we had as a result. The program notes actually set the tone: The opening tempo was pretty damn brisk, faster than anybody I've heard do it before (admittedly small sample size, though), and soon enough,things were getting kinda punky, some really aggressive repeated eighth notes. whoa, seriously? Was he going to do THIS to it? No, he wasn't. Pretty soon he started doing his taffy-pull magic and everything started getting fluid, tempos, dynamics, everything...and that was it, it went there and stayed there, pure magic, a true vision realized, one that did not settle for the established, or try to create novelty by gimmickry, no, a vision of the entire work as one continuous story arc, every "micro-managed" detail relevant to what had happened before, and then, to what would come after, just a masterful interpretation and a masterful orchestra performing it. This Jaap van Sweden guy...worth keeping an eye on.

If this band had gained traction...or recorded for Milestone...Phil Woods does not sound uncomfortable with the electronics on his horn or in his band, not at all. It might be follow - the - leader Weather Report, but I mmuch prefer it to so much of the virtuosity of resignation that was to come. Wood's liner notes speak volumes.

Liner notes by Mike Zwerin talking about how his jazz - cynicism was totally defeated by hanging with The Cowsills for a few days and realizing that they were exactly the type of people and act that they projected to the public. Musically, anybody can quibble with the"what", bur I'll be damned if there's any quibbles with the "how"... I was surprised as hell to see that the album was produced by Bill & Bob Cowsill. The group vocals...geez, love/hate here, but objectively, as "section work" if the hate cannot accept the love, then further processing is probably needed. Fuck The Partridge Family. Nothin personal, just sayin'.

Fascinating "of the times" line racially the talking about acoustic players answering the challenges of electronic music, new music allowing for participation vs. interpretation...most all of it speaks to a new esthetic irrevocably begins to reach into that of "jazz". In turn, the howls especially the "avant-garde" of jazz abandoning its roots in favor of "European" influence...that's a two way street, ya' know? Some wonderful music on here, especially the Berio Sequenza.

George Bush Robert Plant Buddy Holly

Earl Coleman Barnabas Collins Lemont Cranston

Thanks for the tip...now can you find me some time to actually read a book instead of covering a few pages at a time while on the loo?

Those Nat A&M/CTIs with Joe Zawinul & William Fischer...Calling Out Loud & You, Baby are both fascinating records, especially the former. Just as often as not, only their "veneer" is "commercial", a good number of pretty interesting musical things happen underneath that veneer. And afaik, neither have been made generally available on CD for a good long while outside of Japan...corrections/directing welcome!

Yeah, love both the Bartok & the Beethoven and/or pretty much anything by them, even "minor" works. Those are two of the guys I am automatically open to, period. Hearing these things live should be sweet, sweet, sweet! More on John Borstlap here: https://en.wikipedia.org/wiki/John_Borstlap I can see this one going either way...I've some of these tonal/classical "revivalists" that are just plain sillyboring, and others for whom it's the ideas more than the actual maths that they use, so...we shall see. Personally, I like "re-imagining" better than "re-creating", and by a big margin. But like you, totally unfamiliar with the man and his works, no idea of what to even begin to expect. But that's part of the kick of going to these things, the possibilities of confronting the (personally and otherwise) unknown and the familiar all on the same ticket. Fun!