JSngry

The expert playing and indulgent/garbage material reminds me of a short story my nephew wrote in high school, about three teenagers who possessed super powers and used them for shoplifting. Your nephew grew up to be a hedge fund operator, right? (apologies in advance to any of the quite possibly many honest and ethical hedge fund operators who participate in this forum as either members or lurkers) Just saying...no doubt, but also, art reflecting life yet again.

The Man That Got Away The Royal Canadian Mounted Police Winners & Losers

Wow, great footage, thanks for that. Sure hope that the not widely circulated documentation has or gets decently archived so that it will be there when wider circulation becomes possible. Larry Coryell @ 5:01?

Post-Bonzo Stanshall, 1970(?) On a Bonzos album, but originally released as a Stanshall single, produced by Keith Moon: This is comedy in the way that Cruisin' With Ruben and The Jets was comedy - totally equal parts poke, hug, and frustrated disbelief that any sane person would not get the necessity of the unresolvable ambiguity. And really, how far of a road is it from this to Bryan Ferry and early Roxy Music? Not all that much very?

Found it on Amazon, reasonably priced, looking forward to it! Also found, on eBay, another solo album on Owl, 400 Miles Away, looking forward to hearing the results from a recording standpoint. Apparently there's another Davis album called Illuminations, on Denon, but going by the logo on the cover it does not appear to be one of those very first wave PCM Digital recordings. They used Reggie Workman for A&R for those, and it was an interesting series. I do have another Davis Denon called Abide With Me that is a Denon PCM Digital,which I've not listened to in ages, but which I remember as being a good if slightly unsettled affair with a core group of Charles Sullivan, Carter Jefferson, Buster Williams, and Tony Williams. The engineers were two Denon(?) guys specifially there to do the PCM Digital thing, or so it looks. AMG's review (by Ken Dryden) of the Denon Illumination does not appear too happy about the piano in general: http://www.allmusic.com/album/illumination-mw0000653939 Kinda interested in hunting this one down at a not crazy price, and also wonder if the presence of Sullivan, Jefferson, and Williams indicates inclusion of some (many, if song titles are any indication) duplication or alternate takes or just what from the Abide With Me date. That one, btw, also has a really sweet, funny cover photo.

Is it just me, or has this has been an above-average post-season in terms of games either involving turning on a dime weirdness or else not being a "breathe easy" situation for either side until the last out? Baseball like this...a true pleasure.

I would gladly see David Price overcome his post-season hoodoo in a Rangers uniform, but this year, I'm gonna be all Nelson Muntz about it unless and until. Unrelated to post-season, but...The Inner Colby Lewis does not get much national press, not that the should, but here's why we love him here, and you know, not every hero is famous. http://www.lonestarball.com/2015/10/16/9557895/colby-lewis-has-surgery-to-repair-torn-meniscus 2015 Colby Lewis - 17-9, an unattractive ERA of 4.66 and a non glamorous 1.24 WHIP, quite often got exceptional run support, obviously, but this guy..old school work ethic, fuck "I don't feel good", right? Just go to work and do your job, you're gettting paid to do that, so if you can do that, do that. I love that about anybody, athlete, teacher, garbage man, it's not about famefortunebling, it's about character. This has been Pimp Your Local Heroes, we now return you to the 2015 MLB Post-Season.

"Do you like soul music?" "...No..." They were deeply into the Dadist/Absurdist vibe of the time, comedy/humor/whatever you want to call it...not so sure that the aim was just to get laughs..if it was it was the proverbial laughing to keep from crying. We are normal and we want our freedom.

I love those guys. Did not know about that set, but just one-clicked it, thanks for the tip! Not sure if the all-in package is necessary for all but hardercore fans (and I am one), but there was a two-LP set back in the day that should be perfect for darn near everybody, although it's just a few bucks more for the box. http://www.amazon.com/The-History-Bonzos-Bonzo-Band/dp/tracks/B0000011PI/ref=dp_tracks_all_2#disc_2 But yeah, the highlights are many, and for me, they hold up very well. Thinking of them as just a "comedy band" is selling them way short. Put them in a playlist with Roy Wood & Carla Bley and you're in for a good time. HELLO! Python-ites into Ruttle-ites take note of common denominator Neil Innes. Vivian Stanshall was a pretty interesting guy too. https://en.wikipedia.org/wiki/Vivian_Stanshall

Brook Benton Sam Rivers Emma Samms

I like the record too. Also read the liner notes before playing it, so who knows, maybe the quirky piano sound just happened naturally and I just pinned it on the ghost story. Maybe that's actually the best recorded that Walter Davis Jr. has ever been.

I believe that Sprey's "studio Steinway" (his term) was a vintage instrument of some sort, which may account for a certain twang it has. As for EQ-ing, I thought Sprey's recording philosophy, a la that of the Rusch crew at CIMP, precluded anything like that. Yeah, well, supposedly it does. Supposedly lots of things in life preclude supposedly lots of other things. But let's talk about close-miking a piano, and what that does to its sound. Seriously - do the Davis & the Willis sound like they were recorded identically objectively? Not to me. Again, not talking about differences in touch/pedal technique, etc. I'm not sold that the piano in the studio had the same sound where Davis was playing it that it did once it got to the tape, that's all I'm saying, and although that's true of so many things, especially Rudy's piano, thery're not accompanied by a ghost story narrative either. Did Sprey have it in his mind that since Davis had had a "visitation" by Monk that he was going to make a record hat carried that same feeling and then record accordingly? I don't know, but even if he did, that's not dishonest, that's a conceptual choice. All I know is that it sounds funny to me, unnecessarily funny, and does not serve the playing itself, which kind of pisses me off, because the playing amply carries its own water. Anyway, it's not that big of a deal, really. It's just one of those quirky things that bug me, and that gets amplified every time I play the record, perhaps amplified out of proportion to the degree that it's happening. If you've not noticed it by now, there's certainly no reason to go looking for it!.

Larry, the piano on the Mapleshade sounds to me like there's an emphasis added to the high/percussive end, either through miking or EQ-ing (you know, setting the "tone controls"). Either that or else it's just not a good piano. I hear a similarity in touch between this recording and all the others, yes, he was a very personal player, of course you would, but that piano sounds more like a Monk Prestige piano than it does Walter Davis anywhere else I've heard him, and it sounds different than the piano on the other Mapleshade recordings I have. I don't think that's accidental and/or supernatural, I think it's a matter of making the piano sound like that on the other end of the microphone. Using the admittedly limited spectrum of YouTube audio for comparison, and assuming that these are the same pianos - even allowing for the wide damn near infinite spectrum of timbral difference possible though touch and pedal technique, does this sound like the same piano that Bishop used recorded the same way, at all? I'm not accusing Sprey of anything dishonest, but I'm not viewing his recording choices as completely objective either.

Here's that "Rhythm-a-ning": https://www.youtube.com/watch?v=phOe763QsU0 The opening phrase or so of Davis' solo is indeed between-the-cracks par excellence. And his comping behind Rouse is something else too. Think I can see Larry Gales digging what Davis is doing. Yeah, that comp is amazing...and the left hand of his own solo...that's why I don't believe in "magic" nearly as much as I do knowing. To the extent that real magic happens, it's a result of being ready for it when it's there to be had. This cat was ready, hell, probably dedicated his life to staying ready, if you know what I mean. But that's got nothing to do with ghosts and shit, Casper the Friendly Piano Player, no, not that at all.

Sometimes the people without the filters they need to get by in regular life have the best receptors precisely because they're unfiltered. Glad to hear that everybody heard everybody else. Love it when that happens.

Was I seeing the start of a little messaging going on with the high and tights, or was that just coincidental? Go Royals!

It's not the touch that bugs me, it's the EQ-ing of the piano. It sounds outside the realm of touch to me. Maybe my hi-fi is not up to the task.

Yeah, I'd like some feedback on that bio as well, if anybody has any.

Looks like Laswell is getting to his back catalog. There's some fine stuff there.

Sid Bream Mr. Limpet The Incredible Jimmy Smith

The live stuff with Hodges is critical, and will hopefully be made "legitimately" available at some point.

Yeah, by "esthetic", I mean more personal than institutional. Seems that the risk in always being "contemporary" in the topical extreme is in reaching a certain point when having some kind of re-doable repertoire is not a bad thing, just in case. Although, the imperative to always be "now" is quite a compelling one. So I guess it's something every performer has to decide for themselves. and yes, archiving preservation is invaluable in providing context, an ongoing context. Which is why the, as far as I can tell, minimal "moving" documentation of Moorman's work is both disturbing and sad. There are photos, yes, but the amount of fully or partially documented audio and/or video leaves us all at the mercy of the Nude Cellist thing, when clearly there was much more to it than that. Or, is there more stuff around than just what's on the Cello Anthology series/set? I tried in vain to find some kind of "conventional" recording, audio, video, whatever, and came up empty. But I didn't try THAT hard, so...is there more? Because the Judson Hall/WBAI thing is happening, really happening, no pun intended. But, Ornette was intersecting with that Moorman/Ono bunch...how much do we know about that?

Topless Cellist, TV Cellist, those were the taglines. Perhaps not the whole story, though?

Just wondering if anybody here was around to experience this thing and the other things around it in real time, and if so, what were the real-time impressions. I've always had a soft spot for "performance art" as commentary, but as a stand-alone esthetic, maybe not so much. As time goes by, where is your house? OTOH, energy/buzz/disruption/whatever, necessary at any number of junctures, essential, even. Moorman specifically, from what I've been able to actually hear of her, definitely seems like she could play. No "fraud" going on here. The 1964 Judson Hall/WBAI broadcast is for real. But she also seems like she had no interest whatsoever in playing just to be playing, seems like there was always this need for additional, extra-musical context. I don't know that it's accurate to say that she had it and nobody else did, like-minded spirits, more than one, but it also seems as if she was a real mover/shaker type as far as getting things organized, and she got them organized in that general direction. Which, I guess, is one of those "it is what it is" things. Anyway, any of y'all who got a taste (or more) of this in real (enough) time, your impressions and thoughts, then and now, would be most welcome.