JSngry

We were around 80 this afternoon...went to the Christmas tree lot in shorts and a t-shirt, came back in a pinesap tuxedo, pity there's no gig tonight to wear it to.

Farmer on a Bumper, extra mayo, please.

Eliminate the witnesses.

Looks good on PC and phone both here.

Thinking about Lester...one of the more memorable quotes from him was one in some interview from well into the war, memorable more for substance than specifics obviously...but he was feeling pretty chesty about his place in history and was talking about you got to go through me, I'm one of the trumpeters you got to go through, and I'm like, hell yeah, Lester, tell it, and then he starts naming names of the younger players who know that they got to go through him, that they have come to him to learn, not just technique but life lessons, and then he names one guy, geez, I wish I remembered who it was, he called him out right there in the interview - Hey, Jombilly Woohantz - Stay strong, don't lose your nerve. I KNOW they been working on you!" And I just gutbusted right there, because, yeah, Lester WAS one of those guys, and I KNOW they been working on you, yeah, I heard THAT!

Some stains just won't wash out.

And the reality is that when Wynton first hit New York, him and Lester interacted, maybe even did a few gigs together. And then all "that" happened, and that was the end of that. But earliest post-Blakey/pre-JazzHolyWar Wynton...the documentation exists if anybody wants to look. He could have had a very useful apprenticeship in all that was going on in jazz at the time. Hell, I found a freakin' Afro-Beat record with him on it (looking for the Afro-Beat, not the Wynton), and he sounds like he's playing the music like he's into it, not like he's gracing it with his presence.

The music's more than good, it's arresting! Seriously. Rights might be mysterious...or very direct...I think that by this time, any jazz release on Savoy would have been essentially a vanity project. The Barron estate might hold them in full? Publisher is listed as "Savoy Music", though.

Ah, Colorado, Ron Miles, and Jack Wright, there you go.

Was it here or on Board Krypton that I told the Ace Cannon drinking hair tonic/urinating himself while passing out onstage stories? No need to repeat, the topics alone tell enough. I was never a fan before hearing them, but better understood why after. The guy was really not much of a player, not in comparison to any of those guys.

HELL yeah, Self-Determination in full-blown action. A man who cannot make time is a man without real options.

Reading Wooley's bio on his website, it appears that he came to New York at age 27(?) already more or less fully developed technically. Before then, was he staying in Oregon, and if so, doing what? Was he around Rob Blakeslee in Portland any? This is apropos of nothing in particular, just wondering how his trumpet techniques was refined to the point it was. It's definitely studied and practiced in the sense of being so well-honed. Just wondering what circles he was in to developed it to the point that he did before appearing in NYC.

The Red Menace White Supremacist Blue Meanie

Wow, Monk Higgins, I'm gonna have to see and call, not gonna raise on a Monk Higgins.

No, nothing corrupt. Calculating, yes, I'd have to think, but again,that's strategy, and god knows you need a strategy to get out of the ghetto these days. You always have. Or, more like it, a counter strategy to the strategy that enables the creation and sustainment of the ghetto.

How about blowing it up and then running over the debris with a steamroller, and then melting it all in a liquid goo to pour into molds to make devil christmas ornaments for devil christmas trees? Don't tell me you'd not go for that if you had the time...

"Commercial" is not a dirty word, nor is it a concept limited to sales. There's the visibility angle, entering a bigger landscape than one currently occupies. Not just a particular record selling, but a particular idea moving outward rather than inward. It can happen in big steps or little ones, all at once or little by little. Either way, it's about de-fringing, to whatever degree available. That matters, I think. Now if a few years from now you see Wooley featured at Lincoln Center, you can wonder a big hmmm...but until then, more visibility is not a corrupt concept.

I am hearing the cries here.

Ya' know, you see all the stuff about people going out in the woods and blowing shit up or popping off a gazillion rounds into it and having a big laugh about it, and you think, oh, what repugnant souls these be, and yeah, perhaps, but i tell you this - gimme a mountain of jewel boxes, a clear spot out in the woods, and any number of ways to lite 'em up, hey, I'm gonna be at least initially one happy man, longer if I wear goggles than if I don't.

True, but if I send the cat a $20 bill, he gets more from me than he does if I buy the CD. Any of 'em! "Cash", it's MusicianSpanish for "Love".

If I want to give Wooley my money, there's numerous other way to do so. Hell, I'm sure he'll take cash. I know I sure would. Gladly! Realistically, there's far more people who will buy this for the Wynton association than will not buy it for that reason. Net gain for Wooley. Also realistically, this release is creating a broader awareness of Wooley's work outside of this project and will probably a sale or two of other items. Another net gain for Wooley. Can't be whining about lack of visibility and then an effort to gain visibility in the same breath. Different breaths, sure, why not? As far as Moms, cartoon or not, the point re:John Carter is very much on point as far as things in general, and at all levels specifically. In a perfect (in more than one way) world, there would be a repertoire orchestra for, at least, Carter, and there would be a media/resource push to get the information out past where it already is. Nothing to do with Wynton/JALC/LCJO, this music is beyond most if not all of their scopes, stated or otherwise (although if Wynton's not gotten his head around Bobby Bradford in strictly trumpeting terms by now, I'd be surprised). Not going to be a lot of people, relatively speaking, who will want in once they find out, but there are more than just one or three, I'm sure. If nothing else, establish the "narrative", people love narratives these days. Attach the music to the narrative, hey...stuff often grows once planted. This is obviously not that perfect world, but a man can dream.

Wasn't up to speed on that one, thanks!

Those are good players and Bowie's far from an idiot. If they attempt to make music instead of hits (talking about intent here, not results), that could be really, really good. And I've been saying it for a good while now - what Monday Michiru did when she was viably focused on making music with little to no real market considerations..people gonna get around to that, knowingly or otherwise, before they'll be able to get past it. It's just evolutionary math.

This is serious? I'm interested if so! Can't find original cuts on YouTube, just remixes that are all kinds of chopped, sliced and diced, but McCaslin worked very effectively and very organically with Monday Michiru about a decade or so ago on several tracks. Truthfully, i think his improvisational aesthetic is better suited to the focused and specific ends of "pop" records than to "jazz" (he's prone to a bit of rambling repetitiveness in that context, imo), but the problem there is simple - who in "pop" is hip enough to WANT what he brings to their records? This is in no way representative of the original cut, which is very "sectional" and "electro-cool", not at all the "tropical" "house" of this remix, but you can hear from McCaslin's solo (heard here in full, over the new remix groove, again, as is the entire song) that he's not playing generic pop tenor bullshit. The guy comes to play!

Towards that...it's irrational to some extent (and certainly inconsistent, considering all the shit I have bought and will buy), but I have a great hesitancy to purchase this record simply because I don't want to give Wynton any composer/publishing royalties. Not saying that I'm not going to hear it, I most certainly will. And I might actually buy it after hearing it. But, you know, it's in the digital realm. Lots of options that don't involve funneling funds to somebody/something I'd just as not subsidize personally any more than possible. If Wooley puts it out for real that Wynton has waived all royalties for this project, ok, I'm buying it yesterday.