JSngry

Pretty inconsequential until people like Gato & The Fort Apache Band came along. Then it got good and stayed good.

"Kitty:"is by E.A. Weinstein and E.F. Brier, whoever they are. I'm sure there's a story there, and I'd live to hear it, but until then, I'll take the record. Freakin' Ray Nance and Sonny Greer BRINGIN' IT!!! And oh yeah, Oscar Pettiford. Maybe they wanted to do it, maybe it they didn't, but that's a GROOVE, in spite of itself.

Dell is still offering machines with both 7 and 8, but for how much longer, I don't know. I don't really need a new machine yet, but the Dell XPS I've running for a whole lot of years now is bound to give out eventually, so I'm considering having my son or one of his circle build me one. And THAT will be time to decide on 7 or 10. So far, only hearing good things about 10, so that's probably where I'll go.

Actually, you can: http://www.pcworld.com/article/2960692/windows/how-to-uninstall-windows-10-and-go-back-to-windows-7-or-8.html

On the Billy Mitchell track, it sounds like Burrell is not using his own gear, perhaps, which would be odd, but.. Here's the recording data: http://microgroove.jp/mercury/SRS67042.shtml what we don't have is a log of whatever commercial dates he was doing. Maybe he had multiple sessions on the same day? Maybe his amp got damaged in transit, or delayed in transit, whatever, and he had to use a house amp that he could not adjust to get his normal tone? Stuff happens, right, and there's got to be a logical explanation as to why Kenny Burrell doesn't sound like Kenny Burrell while still apprently actually being Kenny Burrell.

Ok, #8 is the oddly titled "Kitty On Toast", Ray playing with Horace Henderson. Sweet! That sax section had it going on too.Blend! I wonder what, if anything, that had to do with this? That's the Ellington piece that everybody loves to hate, but hell, I love it, Sonny Greer playing an R&B beat, hey. And Ray just being Ray. It is what it is, deal with it.

Walter Gil-Fuller intrigues me...there for a while, there was an ad in the back of Down Beat(?) advertising his big band charts for sale, with a list that ranged from the familiar recorded Gillespie items to some things I never knew existed, most WTF?-illy some charts on Monk tunes, most notable "Introspection". http://www.theloniousrecords.com/compositionshtml.htm Between these charts and the unrecorded Bird w/Strings charts that are out there, there's still some mining to be done.

Listening for the first time while writing. The usual thanks and disclaimers firmly in place, away we go! TRACK ONE - This is that Joe Marsala side with Dizzy, totally obscure as far as I know, the only way I foujnd it was stuck on the end of some Laserlight compilation that I bought for some reason. Pretty much classic in spite of its obscurity though, I think, bebop solos over chunkchunk "swing-to-bop" rhythm section, and nobody's bothered by it at all, it seems. Probably because everybody was still working it out and hadn't yet wholly settled on "do"s, still working on eliminating the "don't"s. Happy people when things are in that stage, sometimes. TRACK TWO - Sometimes people bitch about Johnny Coles not being a strong player or having weak chops or something, and I'm like, yeah.....o...k....he doesn't play "brightly", but jeez, the due is playing, ya' know? Language. And VOICE. I don't know what this album is, it's not the Mainstream, and whatever alter work of his I have, I've not really explored past a listen or two (time compresses, etc.), but hey, that's Johnny Coles, nobody plays like that, nobody sounds like that. TRACK THREE - That sounds like an post-60s organ record arranged by Thad Jones, so I'll confidently guess Jimmy Smith's Portuguese Soul. That was one of the new releases from Verve of the day iirc..anyway, point just being that if you blinked, you missed it, and then Verve went into semi-hibernation for a while, resuscitated for the reissue and two-fer craze, and afaik, this one has never been reissued. I bought it a few years ago and haven't really dug into it yet. This cut sounds good, and given time/place, my guess on soprano is either Jerome Richardson or Joe Farrell (if it's really the Jones/Lewis band of the time, it would be Jerome, right?). No need to guess about the tenor, though, that's Billy, another guy who nobody else sounds like that. VOICE. Hello Billy! TRACK FOUR - Not Thad Jones? Don't know if this is a New Orleans band or not, but damn, what they lack in "finesse" is more than covered by swing, pocket. You could isolate everything but that riff background and turn it into a strong hip-hop beat (hello continuum), it's there. And is that Herschel Evans on tenor? Or Chu? Whoever it is displays a fluency and tonal refinement that is different from the other players, although that trumpeter is throwing down with the sweat, for real. Lips Page Or Louis wih Luis Russell? I just don't know this era as well as I'd like. But, yeah, they're playing. TRACK FIVE - Not sure about that tune...does that work for me? Solos, though, yeah, ok. Tenor almost sounds like early George Adams, and the trumpeter reminds me of Hannibal in the more intense moments. Those two played together with Roy Haynes, correct? Once it gets going, it would not be out of place on a Max record, Members Come Back Refreshed or something...yet there's something vaguely "European" about it, so...I don't know. Nice piece, though. Is that the real ending? WTF? TRACK SIX - Harmon-y. I think the reverb deflects from the energy, sometimes that "spacey" thing is not a good thing, sometimes the energy takes you away to another plane anyway, no need to get all productioneerish about it. That's not trusting anybody, including yourself, not if the reverb is not built into the music itself, part of the end vision. Here it seems optional at best. All in all, I'm not convinced about what is being said here. Lots of motion, very little movement. Does running in place count as mileage? Avis, please advise. TRACK SEVEN - Modern! Really modern, not 50-60 years old "modern". Not the tune itself, which is pretty conventional, but the construction. This type of thing, sparse groove, sound used as punctuation, silence more of the "there" than the sound, hardly ever existed in jazz before hip-hop got people to thinking about constructing a groove rather than playing one...oh wow, now it's going all Bacharach, really? I don't know that anything really "great" is happening, but somebody else can worry about that, I'm enjoying it, it's light but not trite, and that's a positive in my book. And I do hear that jazz "thing" in everybody's phrasings, not matter the construction. But that Bacharach thing, wow, that would suck so hard if it didn't work so well. Now - who is this trumpet player who's absorbed Lester so well? TRACK EIGHT - Exotic! I'd guess either Eddie South or Ray Nance. That's not Ellington, so I'll go with Eddie South, but to where, I haven't a clue. Don't ask me, I just got here myself. TRACK NINE - Well, that's for sure "Kids Are Pretty People", a great tune. Did anybody ever put lyrics to it? But this version is not known to me. Wow, that's some tenor playing! Nice heavy/light going back and forth in the articulations, kinda like Benny Golson only less predictable. Seems like it should be Kenny Burrell, but doesn't seem to be. I like it more just because than actually because. TRACK TEN - No idea who these people are, which is a drag, because they all sound very personal. Jimmy Woods on alto, maybe? No matter, it hits that zone from jump and never lets go. TRACK ELEVEN - mm-mm hmm-mm, mm-hmm, hmm hmm. Seems hard to not think that this was written/performed for some kind of commercial functionality, in which case, hope everybody got paid, especially the guitarist, who maybe was wondering why the produce and/or engineer were asking him/her for whatever it was they were asking of him/her. Sometimes they know what they're going to do with it after you do it but they don't tell you, and that can sorta fuck with you, especially when it comes out and you say hey, that sounds familiar, hey wait, is that ME?!?!?! Well I'll be damned. TRACK TWELVE - Not qualified to venture a guess as to composer or player, but it sounds like somebody not unfamiliar with American Popular Song and not wholly immersed in it, which might not always have been a good/right place to "be" but nowadays is perhaps a darn good place to be, since it gives you options instead of restrictions. Nice set, man, I dug it. Thanks again!

http://www.sbnation.com/mlb/2015/8/5/9100327/dave-dombrowski-tigers-red-sox-blue-jays?_ga=1.143466422.205038022.1415141294 Nice Grant Brisbee piece on Dave Dombrowski.

Do you know if the WalterGil has made it to CD, and/or if he did more leader date stuff during that time period?

I blame the cover. You can't have a lot of Pac-Men trying to slurp a couple of spermatozoa and a reflecting ghost head and get a proper handle on the music, I don't care if you do try to make it all better with a couple of flowers. It's just a bad choice that was made, that cover was.

Colleen Ballenger Lurleen Lumpkin Merleen Eldridge

Flim & the BBs Daisy Fuentes Red Ryder

Harold Budd Weird Harold Russ "Weird Beard" Knight

No mention of Wade Legge yet?

Saint Augustine Bill Monroe's Blue Grass Boys Christopher Lawne

Local ice cream vs. Stonehenge...hmmm....the ice cream makes a good case, imo.

Boog Powell Bob Moog Ellen Hoog

Not a question of if there still needs to be promotion, the question is now who will be doing it, how, where, and at what cost to the artist.

So that's where you've been! Welcome back, what was your impression of things such Stonehinge?

Imagine Strata-East with the internet... Is now indeed the time? Question, though - what about those who were not staked to a stockpile and a known quantity? Nevertheless, the guy's right - the old model is not sustainable in the new reality. Now the question is - what will be?

Icicle Reeder Don Sickler James B. Sikking

Sax Mallard Kevin Quackenbush Dr. Hugo Z. Hackenbush

Hack Wilson John Korff Weezie Jefferson