JSngry

We'd have to ask the listmeister about that one.

More of the same, there's never enough, really. You can do different, but you can't do better.

Looks more like Eddie Murphy to me.

My first two Buckley albums were Lorca & Starsailor, both found in cutout bins about a month or two apart. Both were seriously WTF? experiences that sent me off to the rest of the catalog more or less right away, and all of it being pretty much anti-clmatic in comparison, not bad, just not nearly as much in my zone of the time as those two. Although, I found a 45 of Dolphins that really fucked me up, so I went into Sefronia expecting it to all be like that.Oops! Can't blame a man and/or label for trying, but still...that one song, this was a few years before Coming Home came out, and when everybody started buzzing about the powerful ending and this Tim Buckley song, yeah, absolutely. Great artist, though, and geez, what a visionary, really a pioneer of fusion, I mean, "I Had A talk With My Woman" could have had Charles Lloyd & Keith Jarrett instead of Lee Underwood and the end result have been particularly/significantly different, not? That's right - not.

Zawinul contributed many instrumental jazz standards past Mercy. although I don't know how many remain active as such...but - Walk Tall, Dr, Honorous Causa, Birdland, these were all tunes that at one time you were expected to know. And the Nat Adderley version of Hippodelphia...I had that in my book when I had a band that played such things, and people had never played it before, but dug it immediately, that's a seriously badass tune. And no matter how little it gets played these days, In A Silent Way, especially the full piece, is surely a standard. It's one of those things that if you as a contemporary musician don't know it, that's on you. You don't have to like it, but you should know it, fill that gap and move on, but fill that gap.

https://en.wikipedia.org/wiki/Grazing_in_the_Grass Ok - it was "Mr. Bull No 4" and that was not an "original Masakela recording" in any form that I know of. D. Thekwane probably{?} = David Thekwane: http://www.discogs.com/artist/807713-David-Thekwane The original Mr Bull record begins with a wonderful sound effect recording of a bull mooing with a cowbell rattling around its neck (shades of the cowbell that opens GITG!) and somebody saying over it :Get out of my yard you bloody bastard, I am Mister Bull!" Also, no trumpet on this record, just alto, guitars, bass, and drums. I seriously doubt that Masakela was anywhere in the room. He'd left the country by then. As for Hou's contribution to the melody, GITG does have a secondary melody that does not exist on the Mr. Bull record, and the main GITG melody is a more smoothed-out version of the Mr. Bull record, just as the GITG backing track is a significantly more "sophisticated" Verizon of that done by Mr. Bull. They're in now way the same type record, but there's no way to get around them being the same rough song. "Stolen" might be an indelicate description, so let's say "based on" or "strongly inspired by" instead.

"Justice" (Monk)

The Arditti Quartet's readings of Quartets 1-4 come highly recommended. Maybe a little pricey, but worth it. Carter's on my "by on sight" list, and the used classical bins have returned good results at even better prices. Wasn't aware of this Nonesuch package until now, but have picked up some of the material on used LPs, so if there is this, then yes! Besides Nonesuch, there's also plenty of good Carter on Bridge & Naxos. I found him pretty easy to "follow" (not in every detail right away, but just getting a handle on what to look for going forth) once i realized just how rhythmic the music was. Granted, overlapping rhythms sometimes seeming at odds against themselves, but still, very rhythmic. Once that cloud lifted, everything else started falling into place. Still nowhere near grasping all of it, but it gets easier - and more fun - each time, there really is that much "there" there!

"Grazing In The Grass" ...i have a thing called "Mr. Bull No. 4" by Mr. Bull on Ice Cream And Suckers that is probably the source for Grazing.

Mongo wrote "Afro Blue".

Shirley Horn did a beautiful version of "Estate". I assumed that it has always had pre-English lyrics, perhaps not? Either way, this began asa pop song, correct? Not what is being looked for, correct? I am confused, correct!

After he did it, who else needed to?

Said with a smile, but really, the more of anything you hear, the more - over the long haul - most of it starts to sound the same. The greater tendencies get easier to hear, the genuinely personal traits and idiosyncrasies get easier to dismiss. Seems like one has to remain proactive in that regard, and then, what happens to good old reflexive enjoyment excpet in things into which one has already been experiential programmed? You know how some people say that a CD is overload compared to an LP compared to a 78 and all that...some truth to it. Sometimes listening to silence is the best listen of all. Streaming is potentially the compilation CD that never ends. What I like is having access to damn near anything in some form. What I don't like is the proposition of actually listening to it all. That's just overload. When I had 50 jazz records, I could tell you everything about them, I knew all the solos, all the players, all the liner notes, etc. Now, between more LPs, tapes, CDs, burned CDs, downloads, Cloud-stored things, I probably have access to over 10K items myself, without even having to go to a streaming service. Most of what I play gets played for a few hours, maybe a few days, and is heard as "more of whatever it is", which does not mean that I do not enjoy it, it's just that it's a redundant joy, which is a "first world problem", both first world and, yes, problem, because it the line between mature listening and jaded indulgence should not be scoffed over. Good news is that when some other type of music comes along, it's usually easier to explore than ever before to explore. But there again, total immersion...baptism or drowning, hmmm?

Stockings?

Gandolph Fitch Preacher Hurn Angel Dupree

Mister Tibbs The Pawnbroker The Lost Man

You just need a knife or something to get a rip started. Once you get that little tear, the rest takes care of itself. A really good weak spot is on the vertical side, the one that opens. There's usually a bit of a recess there that is super easy to rip into. But, you now, there's so many more things to use a knife for, things that are essentially knife-centric, like cleaning your fingernails or gutting squirrels. Why you want to waste good knife time on opening CDs, right?

Speaking of Duke Pearson & Stanley Turrentine, this one was always on the jazz radio here well into the 1990s. That Turrentine solo, geez, you talk about radio-ready in all the right ways!.That last note! https://www.youtube.com/watch?v=2tDRH30Wc2c https://www.youtube.com/watch?v=YjRWditGKRY https://www.youtube.com/watch?v=2a1K7J3Yr2E https://youtu.be/2tDRH30Wc2c https://youtu.be/YjRWditGKRY https://youtu.be/2a1K7J3Yr2E ...and not one of those works, does it...

Too easy on Wild's part. My truth is that Jarrett sucks, except when he doesn't, and vice-versa. I get that he's been a too-fragile self-loving precocious moaning prick far more often than is healthy for anybody, and I really don't play him that much over the last few decades (and the whole Solo concerts era never even began to resonate with me) but still...this "acid putdown" really sounds a facile generalization that I would take seriously only in the sense that not really seriously. What Earl Wild records do I need to hear that will go with me for the rest of my life like Bop-Be (Jarrett as Dewey's sideman, oh well, recognize and then play) looks like it's going to do? I ain't got all century, ya' know,so it better hit hard and land right. I ain't got time for a lifetime of more equivocated bullshit, ok? If I had a chance to hire a piano player today for a gig tomorrow, and they played like that, I would not. I don't really want to hear all that, today or tomorrow. But that's not how it worked out. I once did, and did, and it makes sense to me in a good way, although if Dewey were to come back to life, take my tomorrow gig, and hire Keith for the draw, , then I would be very happy about that.

Any guesses? Would Jamerson have been in L.A. to get the call for this gig at this time? Sound is a little harder than what I associate with him , but if not him or Kaye, who else in L.A. would/could have played that way on this level of a gig (i.e. network tv) in 1973?

Washington Atlee Burpee Vanessa Marie Atler Angelo Siciliano AKA Charles Atlas

the 1960s gave us this marvel, albeit belatedly.

It was crazy, hot towels, cold towels (like, coming out of a tub of ice water), hot lathers (yes, lathers), lotions/emollients/oils between rounds, all of it kind of spa-ish except for the straight razor sharp enough to cut you if not (or, I guess, if) expertly applied. That was old school barbershop like a mo.