JSngry

I think that Pass on PJ and Pass on Pablo were two different things, really. Something happened to his time in the interim, it seemed that he started playing more on top of the beat, at times almost rushing,

Mal Waldron is like the guy who prepares all the data, Oscar Peterson is like the guy who goes on the Today Show to chat about it with Kathie Lee & Hoda. Oh, speaking of Monty Alexander, has anybody here heard his debut albums on Pacific Jazz from way back when? They were both in the Treasure City cutout bins back in the day, but I never got around to it. But, trios with Victor Gaskin & Paul Humphrey...time/place, maybe ok, all things considering?

And I swear to god, I once heard a Midnight Oil song that used that one little "stuck" part as a sample to build their while song. At least the NPR guy said it was Midnight Oil.

Metaphorical clothes. Gene's music fits him like a good suit. OP to me tends to sound like he's always trying to be bigger than he is.

It's a metaphor. "nuff said?

Gene's clothes fit.

The internet is your friend.

MPS facilitated The Singers Unlimited with both Oscar Peterson & The Boss Brass, records which brought out the worst possible traits of all concerned (and let's face it, even thoguh I cut Gene Puerling all the greatest possible LoveRespect imaginable, just because Gene Puerling had any number of extra gears than his mundane work would have the lazy listener believe, the guy also could be everything the lazy listener want to think he was). I mean, if this doesn't want to make you want to wish permanent death and living dismemberment on somebody, then, really, I think you have not a shred of either decency or sanity. OTOH, MPS facilitated The Singers Unlimited with Robert Farnon, and at least one of those encounters is one of the best damn pop records ever.

The Unhip Catwalk Before you laugh (or curse), consider this: I love hearing people getting excited in languages I don't understand, really, I do.

Fugees Pugilists My Pug-Nosed Dream

Pandora just gave me Betty Carter and immediately thereafter offered me Big Mama Thornton...in felt pretty damn Bill Cosby-ish, to be honest.

Bambee Pebbles O.V. Wright

Sonny Stitts. What he was going to play was generally not an issue, but HOW he was going to play it was. Art Blakesly too, although damn, "Nihon Bash" from Kyoto, where did that come from? Generally speaking, though, improvisation in general, is going to be as "reflexive" as it is "inspired", especially in the arena of fixed repetitive structures. The people who have really developed a broad enough palate of options to have a minimum number of repeatedly identifiable reflexes are truly superior human beings. Then again, so are the ones who can speak with a truly, consistently identifiable voice of sincerity and immediacy, even with a more or less fixed vocabulary. A "signature sound" is trickier than it might seem! It ain't the meat, it's the motion, ain't what you do, etc, etc, etc.

I'll give him this - his defiance of all his critics by seemingly going ahead and doubling down on everything for which he was criticized speaks to a certain personal integrity that I respect in an almost inverse proportion to that which I can muster for its musical integrity (imo, ymmv, etc). It's as if he decided that ok, haters gonna hate, let me please them by giving them even more to hate, like, hey, fuck ALL y'all, I'm Oscar Motherfucking Peterson and there's not a DAMN thing ANY y'all can do about it. So...Oscar Peterson as Polite Canadian Gangsta Of Jazz Piano Chops, perhaps not the first thing that comes to mind in the Arena Of Popular Perception, but...what other explanation is there?

Who's down with OscarPeterson'sPlaying?

Bertha Hope Elmo Henry Qualls

Walter Tell Isaac, Son of Abraham The Son Of Monster Magnet

We need to have a party at Half-Price, and invite Ken.

We need to have a party at Half-Price, and invite Joe.

I can see Lehman happening without hip-hop, but not without Steve Coleman. I don't see Steve Coleman happening without hip-hop, though, and that dude's been around long enough to have been stimulated to do more than just emulate.I might be merging memories, but I think I remember buying a Kool Moe Dee 12" and Sine Die at the same time, which really proves nothing, but, just sayin'...not 100% coincidental, nor 100% parallel universes. What we're really talking about in all of this is Younger-ish Black Music talking amongst itself, which it seems it always has, but now, without all the filters of outside economics and institutional appeasement and, uh...the need to have Separate Conversations, if you know what I mean.

Dorn, yes, and not just with Kirk, some of those Yusef albums get ver "producer"-y, sometimes more effectively than others, but Part Of The Search, a fun, fine album. Fusion (if you want to call them that, and I increasingly don't like to), Zawinul & Shorter, alone and together, they made the music and used the studio. That part on Native Dancer where Wayne turns his tenor into a soprano, that's like on Sgt. Pepper where the cat turns into a dog, except, hey, it's Wayne.

Best figurative use of "carbonated" I think I've ever encountered. Not gonna get me to buy the record, but it sure makes imagining it a lot more fun!

Whoever produced Howard Roberts' two impulse! records, that. Also, Duke's recordings of his band don't really sound like other people's recordings. Nothing to do with post-production, but perhaps everything to do with knowing how to get your music to sound the way you really mean for it to sound. Ok, editing. Richard "Dic" Bock. Nobody said it had to be good, or even necessary. Why you gonna edit down Carson City stage to <2:00 when it was barely 2:30 to begin with? Huh? And yes, Creed Taylor, but the fact that he was given full producer's credits on Paul Desmond's Bridge Over Troubled Water, and the also-fact that that's almost a textbook example of every CTI orchestral/production trick before, after, or during kinda makes you wonder...something about Taylor having cut loose A&M, but still..

The omni-hip Moms got the reference.