JSngry

Up until today, if you searched "Darius Jones" on wiki, here's where you went: https://en.wikipedia.org/wiki/Leon_Reid_IV Now when you type in "Darius Jones", you get an option for "Darius Jones" (Saxophone)", and if you go to the above link, there's now a link to the saxophonist which is not how I think it's supposed to look, but I'm sure can and will be corrected by the Wiki community. Either way, fan-people gonna bitch about low-no profile without taking basic availings, not in the mood for that noise.

People who know how to make a wiki page look good and such, please do so...it's not really something I know how to do. But geez, it seemed kinda to hear "why isn't Darius Jones" better known, and then, there not even be a wiki page for him. But what I've done is pretty basic, and not really "attractive", so, again, anybody who can fill it up and/or make it look better, have at it. https://en.wikipedia.org/wiki/Darius_Jones_(Saxophone)

Here, I got it started. Have neither time nor inclination right now to expand it past this, but y'all go ahead on. https://en.wikipedia.org/wiki/Darius_Jones_(Saxophone)

That Wiki page should be there (and in English). Most of my searches for new names have wiki pages, and pretty high to to top of the results. and that's one of the first places I look to springboard out into further research.

That's a little less than half of what I had to ebaygrab for it not too many years ago. Mostly, really fine music, at times great, and never less than pretty good in some fashion. And, oh, btw, outrageous Sonny Lester reverb all but removed, sigNIFicant good deed on that one. Going to assume that the identical product for way less money is a, what do they call it, great deal?

Love the covers on that run of RCA reissues.

Background of those LPs of probably little to no interest, but anyway...at the time of their making, Fathead had an all local band that included a bass player out of Denton, former NT guy. and that was exciting, becuase this was not Stan or Woody or Buddy, this was FATHEAD, something that still mattered after all the BigBandLuv had worn off. So when the Fathead Prestige sides hit the stores, "we" were all, like, hey, where's Ted (Wasser, the bassist)? So Ted got asked, hey man, WTF? how come Fathead didn't use you on the record, that's fucked up. And we expected Ted to be all pissed of about it, but Ted told us, no, it's cool, Fathead makes these type of records to keep his name out there, this is what he can get, so this is what he makes, and then when he gets regular live/club dates, we go and play them, and we play mostly straight-ahead, it's a good gig, actually. Well, of course, our young hipster ideologue selves were all pissed offy Fuck The Record Man, He's Trying To Kill Real Jazz, but in retrospect, no, Fathead was a very realistic guy about things, and he lived long enough to have that great last, long run on HighNote (and before that, a short, great second run on Atlantic, and a few others), so, nobody was really killing anything, dig, everybody was just trying to stay alive to see the next day. And sure, ok, living to see the next day ain't everybody's thing, I understand, nothing guaranteed except RIGHT now, but, just sayin', it ain't evil to want to do that, just as it ain't crazy to embrace that other, it's just people being people and making their choices.

Well crap, I have that Boots CD, pulled out of the used bins a long time ago, casually listened to once, nad then filed away for waht until know was intended as perpetuity. I'm going to have to go back to it, this cut was fierce! And fwiw, the Jazz From The Riverwalk, or whatever the syndicated public radio show that the Jim Cullum band does, actually did a show about Boots & His Buddies a few (or more) years ago, which I enjoyed but did not really pay any serious attention to. Historical narrations in pretty good detail, and musical re-creations. No idea about that show's archives, but, they did do that show, for whatever that's worth. Played this cut at our rehearsal today, and it was unanimous- this sounds like a freakin' STREET band, with the best possible implications that phrase can have.

Upping this, have had the new one in my car for a month, and am in no ways tired. And this, with the beat most broadly broken down into 7 and then 8...but those lyrics...

Leander Paes Amanda Oleander Chris Alleander

Or want it, even. People like to be able to pay the bills, sure, but it's ok to not have a high-profile outside of whoever it is you figure is your audience. You don't want all of THE audience, you just want to be able to find as much of YOUR audience as is possible. To that end, really, unless otherwise prohibited by the man himself, Darius Jones should have a Wiki entry, just because.

Mike Nelson Nelson Boyd Boyd Dowler

Bipolar Woman The Polar Bear Club David Schwimmer

How come Darius Jones doesn't have a wikipedia entry (that I can find, anyway)? Looking at KW's entry https://en.wikipedia.org/wiki/Kamasi_Washington it appears that he has a history of intermingling with more "commercial" artists as well as more "community" jazz organizations. Maybe it's just somethng he likes to do, and maybe it's something Darius Jones doesn't like to do. Also, Gerald Wilson, Horace Tapscott, devoted to community presence, encouraging of people at least as much as "style". LA.. kinda grows its own as well as takes in others in that regard. NYC...maybe not so much? Again, music is as much social as it is business, and vice-versa. You can't make somebody hang with and get an in with somebody they don't particularly want to be in with. And if somebody is hanging out and they get a break or two, there's no foul play, that's just life. And a group of similarly-minded individuals ending up in the same area and working together to get something going, and then it gets some traction, hey...American Dream, for real. "Just showing up" is important, and showing up where people are just increases the odds. Know who you want to be there when you do show up, hey, there's your key to the city right there, even if finding the lock is not always a given.

Wash, back in baseball, just with wrong team. http://www.lonestarball.com/2015/8/24/9200325/ron-washington-is-the-new-oakland-third-base-coach

And good for them. They took a shot and got it right. Now, what's the sequel gonna be/do? Is KW gonna become a mainstay of a subset of a generation, like Grover (or Doug/Jean Carn, to go into a deeper subset of a generation), or is this a moment of zeitgeist for all concerned? I mean, even if he does the same thing better, will it matter to this many people?

Frankie Dunlop John Boyd Dunlop Willie Hume

Allen Funt A Naked Lady Bare Naked Ladies

"Intellegent coverage"...not sure what that means, other than "critical analysis", and again, this thing is not really landing at that airport, nor do I think it was ever scheduled to. But as far as the press coverage being mostly "white", it might be. Like I said, don't really know, don't really care. But I do know that I got friends sending me links like this with some frequency: http://www.okayplayer.com/news/kamasi-washington-the-epic-headed-to-vinyl.html http://www.okayplayer.com/ good old-fashioned grassroots street team pimping to the audience to keep the interest alive for as long as it can be sustained. It seems safe to say that the target audience of this site and others like it (and there are more than a few, if the forwards I get are any indication) is not particularly "white", nor particularly interested in "jazz orthodoxy", and probably even less interested in "jazz criticism". So...keep that in perspective before getting all fleeflimpled up about These Savage Uncouth Hip-Hop Pseudo-Jazz Negroes Are Coming To Take Our Jazz, or something like that, that's really just....out of another world, really.

Also...how many of "us" read stuff like Jet (or Sepia) back in the day, or our local African-American newspapers (where they existed), be they daily, weekly, or monthly? Or use Players for a stroke-mag (not available at all newsstands, btw)? Point being - the internet is generally pretty damn all-access in a way that past media were not. It is SO much easier for white folk to follow black pop culture now unfiltered than it was back in the day.

Charles Earland did not live in a time where all voices had all kinds of handy media outlets - but he DID get beuacoupass radio play, which was where you went t to get hype for a product aimed at the type of market we're talking about here. I mean, the guy got played on R&B stations, maybe sometimes just as bumper music, but, you know, once shit catches on. And there were people in place to keep an eye on that, and to bump it up as appropriate. Consider also that Alan Shorter is possibly better know among his hoped-for audience now than he ever was during his lifetime...and/but that said audience is probably all/any kinds of ways neither interested in or about KW. C'est la vie, correct? Internets and Social Medias done shifted any # of paradigms. Tis what it is.

otoh, we lament the social/neighborhood element that the music used to have, and then when it comes back we start worrying about our nuts getting cut off or some anachronistic parallel universe shit like that because the music's not THAT good, and, oh, like all those Charles Earland records were All Time Great JazzRecords, no, it was how they ingratiated into the culture that gives them relevancy today. Most of them would not be remembered today if they had not been jukebox-radioed then.But they were, and we do, and fondly, no less. I'm not reading the papers too much about this, but on the ground here where I live, it's pretty much a point of black folk enjoying other black folk playing this type jazz, the kind of Afro-Centric "spiritual" vibe from the 70s. In a post-Ferguson, Black Lives Matter climate, yeah, people are digging it as a part of that. Simple as that, or given today's social climate, "simple" as that. Really don't see a problem there, to be honest. People gonna like what they gonna like. All the great music that doesn't get a machine (any machine) behind it, old news, hell, perpetual news. KW neither first nor last to do an end-around on the established machinery machine. But it got to people, and people took it. So, what, exactly? Dude got a fanbase and is having a run. Problem, officer? I mean, is the angst about people buying and liking this music, or is the angst about what the black critics are saying, or what? Why are white folk so angsty about what type of jazz black folk are liking and black critics are pimping? Why is that a thing now? I mean, ok, why would that be a thing ever, rhetorical question supreme, of course?

The Safaris The Surfaris The Daktaris

Roberto Clemente The Big Bopper Otis Redding

Benn buying random/scattered Dave Brubeck albums for $4.98, just to hear Paul Desmond, and it has occurred to me that in 50 years, there's been like, one dollar's worth of change in that scenario.