JSngry

I used to find Dianne Reeves generic as well (and she was, frankly) early on, until I began to look at the arena in which she was choosing to work. Lots of "shields" needed, I think, so the veneer of genericism is not necessarily unnecessary or unwise. She ain't crazy, she ain't a diva, she ain't got no cultural manifesto, and she ain't white. Nothing at all wrong with not being/having any of those things, but marketwise, hey...where DOES that fit in, exactly, if you want to make a living? Not making a thing out of it, just sayin', people who make records and headline gigs do so because they've been able to target their niche, and niches are never about "just" music, that's all. What really turned me around on her was, of all things, that BN remix project where she sang "Down Here On The Ground" over a Grant Green sample, sang the SHIT out of it, dug into it and pulled it ALL the way back out, and then the lightbulb went off, ah, THAT'S the game she's playing. And then it all made sense.

Same publisher.

Those large (really large) magazines with glossy slick pages, amazing photography, creative layouts and designs...a day since passed. In retrospect, probably wasteful as hell too. That Chicago cover was done by Alex Steinweiss, of Columbia Records fame. Looks like they have returned: http://www.nytimes.com/2014/03/27/fashion/holiday-a-travel-magazine-is-reborn.html?_r=0 http://www.holiday-magazine.com/

Ok, moved it here. Y'all stay safe.

Is this thread really intended for the Hammond Zone forum? Just wondering...

So, sun kills, that's the ultimate takeaway, right? Seriously, I just meant that I like the idea of "keeping up with the times" as much as makes sense, just so you don't end up a total stranger to your own world. Because, yeah, that forest ain't coming back. But there were forests before, and there will be forests after. Or something. Hell, if it's a desert, learn to ride a camel. and I gotta get that Greek Cooking thing.

That's why it's a good idea to nurture the saplings.

Dude, it was a small town with oil money (but not for us). The library was often the hippest place it town for me, because they had stuff, you know? GOOD stuff. Jazz Masters Of the 50s. S.J. Perelman books (old ones, with the funny caricatures of Perelman with the foot-long chin), Faye Dunaway-covered Newsweeks, Bronc Burnett & Highpockets booss. Saturday Review, New Yorker, Harper's, Atlantic Monthly, shit you had to actually READ, ya' know?GOOD stuff. Plus old as hell Life, Look, & Saturday Evening Post. Pictures, and most importantly, advertisements. Goldmines of unfiltered America Pop Culture, decades of it bound for your convenience (as convenient as a year's worth of those bigass things bound together could be, anyway). Knowledge, things that you weren't gonna get to just living the Gladewater life the Gladewater way,.all you had to do was find it, take it to the front, call "551", let Mrs Bauman run the Due Date card through the stamper, and bam, what is it that you now don't yet know? That's how I found out about Saturday Review, we had a class in school about how to use The Reader's Guide To Periodical Literature, and of course, the library had those (in the back), so...look up "Jazz", start looking on the shelves to see if the magazines were there, and viola, all of sudden, you got news you can use. Old news, but when you got something instead of nothing, hey... Amazing things, public libraries. May they adapt as necessary and live forever. Literally, forever. Because there's never not gonna be a need for something like that.

Yeah, irony surely intentional! However, consider this - although the music on KOB was mostly modal, Bill Evans' voicings and harmonies moved it around a helluva lot, so if you're listening from a harmony-centic ear, there's plenty of movement, plenty of un-stasis, plenty of movement/resolution. On bitches Brew, not so much of that, but the rhythm/percussion takes that role. The vampage in that music is really to be found (mostly) only in the bass, everybody else is playing around with the rhythms and colors. The harmony is more overtly static than on KOB, but the rhythm is infinitely less static, as is the color. So...transference of means from one place to another, perhaps? Same thing only different? And by the time On The Corner hit, it was all about rhythm and color, symphonies of rhythm and color (and no small thanks to Teo for that). People who want to say that there's no melody in rhythm, or no rhythm in color, ok, I get that, that's what a lot of people have thought for a long time, and the systems they've constructed from that is pretty damn convincing - within itself. But really, objectively, all it is is one way of aligning certain physical vibrations, and then setting about reinforcing that alignment, asking certain questions of sound, and then getting answers appropriate to the questions. But not all creation asks thsoe questions, ok? Nor do they have a stake in the answers. All roads lead back to vibrations. Not as in "good vibes, man, heavy!", but the basic fact that all matter, including sound, is energy, and all energy entails vibration. The raw material of existence. So when people hear melodies in drums, or harmonies in wind sounds, or believe that green sounds different than orange, hey, so be it. Now, what I want to know is who really created Our Modern Musical World, Hugh Hefner or John Peel? Or were they both just pawns of Si Zentner?

Yeah, I first "imprinted" on Esquire in the alte 60s/early 70s. Seemed to be a really "in tune" magazine as far as "mainstream" magazines went. The whole thing, content, design, graphics, really "grabbing", or so it seemed to a quai-backwoods kid whose hometown had a library that covered a lot more bases than did the general local population. Can't tell you how much I got out of that place... "Racy" Esquire...other than the pinups (that's what they were, right?), how far did they go into the "entertainment for men" thing? I'll happily give credit to Playboy as a benchmark in the evolution of popular sexual mores and such, just wondering what Esquire was into. Nothing graphic I'm sure, but were their pinups ever even photos? And did they ever "show" anything, or was it all just "almost"? I do remember that the library's collection only began somewhere in the mid 1960s, and knowing Mrs. Bauman (the librarian) as I did, I'm sure that it would have been completely acceptable by then. OTOH, when I returned Ulysses at the end of one summer, she grinned and said, "Well, that was quite a read, wasn't it!". And I never will forget her reaction when the Faye Dunaway-cover Newsweek came in. She just pulled it out of the mail, said a rather comprehensive "Oh my..." and then put it out on the shelves. When I went to check it out (about 30 seconds later...), I got one of those raised eyebrows/eyes over the glasses looks that more or less defines who's your friend and who's not. She was my friend. Gladewater Public Library car #551. Still remember it.

Ain't gonna be the Rangers, unless one of those feel-good "team of destiny" things REALLY happens (and god, I hate that). They got real hot for a good little bit, but the starting pitching is not for the feint-of-heart. Assuming that Oakland continues to leave early to beat the traffic again tonight, the Rangers gotta beat the Tigers tonight, and then take 2 of 4 from the Angels to win the division. Micro, that's just having to go 3-5, but in the compressed time frame it now is...you gotta have shutdown pitching to more or less ensure that, and we ain't got that. Other than Hamels (who was off like hell last night, no thanks to a punkass strike zone, but, hey, adjust, ok?) we have a real "Good (name)" & "Bad (same name)" staff. Even The Inner Colby Lewis (between this guy and Beltre, if guts and character were Cooperstown, the HOF would be in Arlington) is having a career year, the ERA is 4.53. Errrr....You gonna "depend" on Derrek Holland? No, you're gonna HOPE for Derrek to be Good Derrek. Martin Perez? Another inspirational return, but he still has composure issues, and he's not yet back into that righteous groove after the TJ. It's a far better team than it was at the beginning of the season, the surge was not a fluke, but at some point, all that Pythagorean W-L record stuff does carry some weight, and right now, is this REALLY a 88-90 win team? I mean, if they are, they are, but that pesky "sequencing" thing matters now more than ever. Even if they should, god forbid, lose out and finish 85-77, the season is still a success, a helluva lot better than anybody hoped for. But they'll have finished 85-77 in the worst way possible. If that was offered in March, the congregation would say HELL YEAH, but this ain't March and here we are. Astros play D-Backs, we play the Angels (and really, ANGELS? SURELY not?). This one might get weird... Next year, Darvish returns, Perez gets the full season, Holland...whatever Holland does, etc. Choo seems to have figured out what went wrong, Beltre is just freaking awesome, mommas, let your babies grow up to be Beltres, please, Elvis finally got his head out of his ass, and I like the kid Odor, he comes to play (still figuring out some things, but he acts like he's gonna be here for a while). Next year looks like some expectations are in order. But this year,, like I said, not really a fan of the whole "team of destiny" thing. Jays being 41-14 like that, that ain't destiny, that's skill, and lord knows I love me some skill.

I feel like Doo-Doo the Donkey Head for not thinking of Money Jungle...

Please do, and thank you!

I'd not bet against them, not even with somebody else's money. I've always dug David Price, and am glad to see him on a team that allows him to do this.

I'm blaming Si Zentner until proof to the contrary can be provided.

Only if it helps me see Si Zentner!

Yeah, it's one of those "now that you know about it, that's enough" type things.

What's the deal with Greek Cooking? Never have checked it out, fear/curiosity ratio has always ran something like 64/56. Is it just cheesy or is there some real spirit there?

Smokestack...maybe it's my ear-orientation, but the two basses move it into quartet territory in terms of density...same thing with the Errol Garner trio records with an added percussionist (late 60s, early 70s), you think it doesn't matter, but it does, subtly. Using Giuffre as an example, how many other 60s groups were a trio of piano, X, & Y? Like the Mitchell-Ruff Trio when Ruff played French Horn instead of bass.

The one I have to keep: One side at a time is enough for me, but again, no sense in overeating, especially on the good stuff.

So we're all conceding the AL to Toronto then? Good, let's get on with it, effective immediately. I like all bird teams that are not red, and bird vocal groups, period. Besides, I could use the rest, especially since Oakland seems to have decided to end their season early!

Haven't listened all that much to the Bad Plus thing...I take a taste every so often but never come back for seconds, for whatever reason. OTOH, I don't spit it out with a BLECCCH eitehr. I'm too damn fat, that's what it is, an't everything like I used to, at least not without getting some painpunished sooner than later. The Giuffre trio, yes, a different beast, as I noted, a trio with a piano, which may or may not make it a "piano trio"...only real point is that Bley was there, and for my money, everything it kinda sounded like Bill Evans' trios could become but didn't, Bley's trios did, and then some, and that direction can be found in the Giuffreeeeee/Bley/Swallow trio's recordings. So, kind of a cheat, but a legit one as far as pointers go. Put an asterisk by it! But, to raise a question perhaps unnecessarily (or not) if the topic of discussion is to be limited to "piano trios" in the sense of piano/bass/drum playing a totally straightforward repertoire, then does it really matter in which decade they got recorded? If so, there's gonna be a lot of things ruled ineligible once we get to the 70s..especially should Rhodes prove problematic...one of favorite Tommy Flanagan trio records has Rhodes... https://www.youtube.com/watch?v=PXFcUkbfszk . Lowell Davidson recorded with Peacock and Graves, successfully avoiding guilt by association. There's the Bob James ESP trio, but dammit, the guy left all his money on the table after that one.... We should also not forget Valdo Williams, although should ain't won't. Also, IIRC, Si Zentner had a piano trio that was there waiting for Neil Armstrong when he steeped out onto the moon.

Thanks for that background, Peter. I figured he had to have come from somewhere!