JSngry

Buck Roy Lulu

I wonder where the error began. Was it put on the shelf in the wrong place from the beginning? Did they have it laid out right and then take a break and come back high? Bottom line, my packing slip and box say totally different thins, how many places of wrong did that live before it got here?

I ordered Oliver Nelson, I got Woody Herman. Waiter?!?! Email sent, resolution expected, but damn, it's gonna be a pain in the ass to get that fucker back in the mail, and I'm thinking they'll get me my Nelson first, right?

Larrie Flint http://uncyclopedia.wikia.com/wiki/Larry_Flint Annie Laurie Flynt http://www.picayuneitem.com/2015/07/annie-laurie-flynt/ Loralyn Coles http://loralyn.net/lc/

Is it "Exotica" or "Erotica"?

Because we'd have to take their word about that. As it stands, no question!

Man From Glad Man From Desilu Mantu Hudait

I've heard some of this stuff in the past, just found a copy for a buck on amazon and ordered it, but...why is it that any Tommy Dorsey band I hear, and no matter how much I like it, there's this feeling of "corporation" that I cannot fully ignore? I can and often do render it irrelevant, but I can't ignore it. I mean, it's not a bad thing, the earlier bands were really organized like that, from what I understand, department heads, not just with section leaders and such, but everything, Staff arrangers reporting up to Head Arrangers and all that...maybe that was the norm for a bigtime (and just big in general!) outfit like that...but Glen Miller's band, which I'm sure was at least as corporate, didn't play that way, they played more like highly skilled employees. Dorsey's bands sounded like full board meetings or something, I don't know. Again, it's not repellant in and of it self, it's just a feeling that I get, like, you know, I would go to Tommy Dorsey's office any time I needed to, but I would never go to his house, because, you know, we ain't getting THAT level of access from him, not us.

It's the difference in (not between) doing what you think you should do (and/or even doing what you "want" to do) and doing what you need to do. Wants and needs...First World Differentiation. But we are where we are.

Yeah, I noticed that! But perhaps history will not have use for data that already exists. You know how history do sometimes!

Summer Place? YES! Crappy music but great RECORD, the way the reverb plays into the triplets and then sets up a cloud of sound which then gives the strings and flutes a perfectly cushioned etheriality into which further float...damn, today's "sound sculpterers" could take a lesson from that technique, and probably have. Don't who it was that did that, odds of it not Being Percy Faith, odds 50/50 at best, but those details matter to some people, not others, I being one of the latter. But reverb as compositional tool, yes, many great lessons in many odd places, this being one of them. As for Jamal, the next time they play Poinciana, just back the furniture, grab your close-bys and just dance. Fuck it, just dance. Vernell & Israel gotcha covered, trust me.

Hopefully uses existing data as part of its well-balanced conclusion reaching!

But...you'd do that anyway, right?

Dude, I was a teenager, I didn't think about it that much. Just thinking about knowing and learning these tunes was rebellion enough! They were tunes, and I could shut the radio off any time I wanted. We didn't have AFRN, we had commercial stations, which meant pop, soul, country, or easy listening, period. Music to sell ads by. (and which also meant that you could go back and forth between idioms at will, without having to wait for it to be programmed). Classical, if your antenna could pick up Shreveport (and our radio in the bathroom could not, and I can't tell you how many standards I began to learn while either on the toilet or in the tub). So it was easy to turn it on and turn it off pretty much at will and go someplace else. Jamal, I still think about, because when he's not making the obvious For Airplay Only records, there's a lot to think about. I get that not everybody likes what that "thing" is, and oh well, right? Also - Nelson Riddle, bring him on almost any time, the chords he uses are often enough non-standard, and a delight to this person's imagination. Except, of course, when they're not, but...I take my chances with Nelson Riddle, I like the odds.

Duke Pearson Houston Person Allen Pursin Trail

Not familiar with "James Johnson"...who is/was he?

I have a Roku channel that's full of vintage radio programs, and one of the series of which they have episodes is some Philco/Paul Whiteman show from during WWII, commercials intact. It is mind-boggling in so many ways, very few of them particularly good, but you know what they say about if it doesn't kill you, it just makes you wish you were dead, something like that. Anyway, to think of this in terms of being live no retakes radio is pretty damn intense, the cues are just SOOOOO popped/precise, and the songs, geez, full orchestra, full chorus, no elaboration left unelaborated. Just non-stop space filling, beyond mechanically perfect, almost sci-fi perfect. But then you get something like Red Norvo popping in to jam a few choruses of "Northwest Passage" (called something else, there's some research for the researchers), and, oh, you think it's jazz, and it is, but only until it's not, and that doesn't take very long. Just from a logistics standpoint, it's hard to believe that the Paul Whiteman of these broadcasts could have been a real person. But here he was, so I guess he had to have been. I bet he had one of those longass batons, not for show, but to shoo time out of the way so that that show could pass through on schedule. WHEW!

Phil Linz X-Ray Spex Spocks

Listen to the full fadeout of "Strangers In The Night" and marvel at the frankness of Frank! (the song, not the album, once you get past the song, that album is pretty nifty)

Klute Henry Fonda John Henry

Please tell me that somebody has at least some type of taping of these things, even home cassettes, and that they are not lost to be found only in the memories of those who were there...at least some of them.

Dub Taylor Y.A. Tittle Hillary Duff

Wow, that's nuts! Spotting "characters" has gotten a lot easier with hi-def...a few years ago, it was the gorgeous Brewers lady, Front Row Amy, remember her? Kept a scorecard every game, full legit! Ended up feeling bad for her, apparently she was a normal wife and mother who just dug the Brewers, and didn't really plan for what national television "exposure" would do.. Looks like she's adjusted well enough though! http://www.frontrowamy.com/#home

Oh yeah, been meaning to ask this - who's the guy always in the Marlins shirt?

It does. But if he gets programmed on radio in between Percy Faith, Hugo Winterhalter, Nelson Riddle, Mantovani and similar easy listening acts from way back (no kidding! Happened here over and over again on AFN FM which at that time - late 70s - went on for hours and hours on a strict background elevator music diet - "Music to soothe your drilll sergeant to??" ) and indeed he segues seamlessly in and out in between the other acts then you do get second thoughts about the jazz content. And that's why I used to love to listen to easy-listening stations - a great way to learn standards, and you'd get the jazz surprise once in a while to boot. Seriously. Flip side to that is that he got played on the jazz radio here a lot, and he caught the attention precisely because of the uniqueness of the quality of the jazz content. I'm not talking about the Genetic Walk type planned overt commercial stuff, I'm talking about the prime Argochess & Impulse! stuff. "Poinciana", maybe a cliche, but dammit, that thing comes on in the middle of tastefulintrospective hipness, and look out now, push the tables back, it's DANCE TIME, thank you Vernell! That happened when I lived in Tampa, the local community access jazz show was fund raising, and they had been playing all this "hip" stuff and I was like, well hell, this is where I am for the time being, I can give a few dollars, and then they put on Poinciana, and yes, I did push back the tables and danced all up in it, me and my son (then just 4) and my babygirl (then not yet even a toddler, she was in the arms all the way). And then the hip DJ comes on and says (and this is an almost exact quote), "well, I always wondered what all the fuss was about Ahmad Jamal, guess now I know. That'll be the last time I play any of THAT!", and yeah, I called him up and told him, respectfully, to go fuck himself if he was expecting to get any of MY money, asked him if he knew about Vernell, or Israel, just what the hell THIS type of jazz was up to, and he was all oh man, sorry, I had no idea, never heard of this guy until the other day, maybe he's got other records I'll like better than this one...would you like to make a pledge anyway?" Seriously, people think it's that easy to get your money, that all they have to do is use the "jazz" word. Well, fuck them!