JSngry

Yeahyeahyeah dry martini cool Suzy Parker and all that, (buuuurrrrrpppp) but consider this... 5+ minutes of an extremely cohesive thematic improvisation that just when you think he's painted himself into a corner, excuse me, corner, what corner? Math such as this only works if you are brave enough to let it, and the longer you let it work, the braver you have to be, it's so easy to look down for just a second, and then, uh-oh... Also, so glad to have found this clip, un-rechanneled, de-Crowned, whatever. And talking at the end...if this is Fresh Sounds, maybe it's a direct lift from Fantasy, which I've never heard, just heard Crown. Anyway, Paul Desmond could be a really graceful slacker, especially as time went on and he was not disincentivized to play to type. But this shit here is like Anti-Sonny Stitt Gunfighter Reversed Jazz Polarity Neutralizing Ray Energy, the kind of guy who says, ok, so you really do want to fight and the other guy says yeah, and you're such a wimp I'll give you first swing, and then the "wimp" guy just...never...throws...a...punch. Ever (unlike Lee Kontz who would go all Spider-man on your ass and web you down to the ground). And wins the fight, tough guy gets carted off in a mental-physical straightjacket and the Cool Guy goes over to the bar with and has his Suzy Parker to have the dry martini bachelor sex yeahyeahyeayyeah.No escaping that, but as location = context, it is everything. And Brubeck on this one, if he ever had a point to make (and sure he did, let's not kid ourselves), this was it. But you know, gabbagabbahey, cf CT, etc, but Paul Desmond. Just sayin'

Ohio, you can have your Canton. We have our own. Then: Now:

Snorty Foggy Trundles

It's pretty much daring me to.

At this rate, I want it buried with me, in a refrigerator.

J. Edgar Schoendienst on the case.

Ray Charles had a hit with "Ruby", but if it's the same song, he did not write it.

Bright Side, Dark Side, which is which, not for me to say.

This milk has yet to begun to stink. I think I'm through tasting it, but jesus, it should start to smell sour at some point, should it not? This shit is weirder than Toast Norma, and that was fiction, this is real, truth than, as they say.

Wondering if the "rejected" material will be more interesting than the released material...maybe? No? On the whole, this one vs Jamal @ Pershing, Jamal, no contest, but one thing I've learned is to never take Errol Garner for granted, nope, don't do that. So maybe Columbia released all the "safer" takes becuase they new it would have a good chance to go mainstream? We shall see soon enough, and because, that price, ooh yeah, dat price yeah.

I had never heard of Margo Guyan before, but it seems as if she had an interesting career: https://en.wikipedia.org/wiki/Margo_Guryan One of the folios of Ornette tunes (published by MJQ Music, official!)I have stashed away somewhere has Margo Guryan lyrics to, I think, "Lonely Woman" and "Una Muy Bonita". I had heard of her for something in the hippie days (although so often superficial, those were times when names that got dropped were actually worthy of note), and wondered how she got hooked up with Ornette, and now it makes sense. Also, as I've understood it, Ornette & Don were there under the auspices of John Lewis himself, Lewis and Percy Heath(?). Not sure what the exact sequence was, but Lewis was in the middle of his Thrid Stream thing, and felt that Ornette was important as far as moving things along, so much so that he sponsored him & DC at the school that year. That was his "coming out party" as far as East Coast exposure goes, and the Five Spot gig happened in the wake of Lennox, as did pretty much everything else, Gunther Schuller, Atlantic, Five Spot, all of it. This is the one that has the Margo Guryan lyrics (and iirc, Una Muy Bonita gets evened out to 4/4 all the way through to accommodate the lyrics. The instrumental lead sheet is more accurate). But you gotta think - already, some people in the John Lewis/Gunther Schuller/Atlantic axis was putting some money into Ornette, to get lyrics on the books for what they thought might have "crossover" appel. And come to think of it, a fair number of people have covered, Guryan's lyrics, I think? Helen Merrill, for sure and or for real, being one. Freda Payne, another. Go figure. There's another one with only some overlap, but I can't find a picture of it. It's got a brown cover and a big Ornette head.

I bought a few James Chance/White/Contortions records back in the day and...hmmmm...seemed pretty silly even then, all attitude, no meat. Nice if you want to do the make a splash thing and then dissolve, but geez, that's kinda ANTI-Ornette, really, Ornette was all about keeping it going, surviving, durability, the long game, if you will. But I dug the sound of the records, I appreciated that part of it very much. and I certainly did hear the influence of Ornette & Blood on what it seemed to me they were going for..nice attitude, shame about the ability (I know, Punk DIY, all that, junk, self-loathing, etcetc. But still.). I do still like the Contortions thing where they're calling Stella on the phone, Stella sounds pretty hot. That was Lydia Lunch, right? You can hear the difference by comparing the Rough Trade mix of Are You Glad To Be In America? to the Artists' House mix. Hardly sounds like the same music, at least. I had known the RT version almost since release, but took a while to get to the AH, and..SURPRISE! While we're at it...Joseph Bowie seems to have been in the middle of that movement(s) at that time as well, perhaps not as well documented on record, but I do recall contemporaneous press accounts.

Do not where to start or finish the wow.

No, that was her, but she was lip-synic to her own prerecorded vocal. I suspect some of the, uh,..."drama" in the staging was imposed by the TV people. She sang pretty good for a bandanna!

And let's not forget William Tell...

Right - Targets! Made by Marx, of course, enslavement through the illusion of freedom, just like Apple, damnation through the illusion of fruit.

Good singer, unfortunate lip-syncer, although perhaps not her fault?

Point or not, I don't wear a watch, period. I ain't no Dick Tracy, although, hall of fame style points for the hat/jaw combo.

Very well documented for the NYC scene, yes. Throwing in some "local impact" filling out. You know, it just takes one record, and it just takes one or two people to have that record, and then play it for everybody you know. At least one of those people will go ahead and get it and play it for everybody they know, and...eventually it stops, but an impact has been made.

Ok....that's transposing a moment of nostalgia into generally known history, but all's fair in crosswords, I suppose.

I just don't wear a watch, period.

I 'll make no claims other than to my own experiences (limieted to time/place/talent pool/etc., but the players I found to make that band were all people who had been playing music that was more punk rock than it was anything else. Certainly wasn't the jazz players. They got the "sound" of Ornette's new music right away.

My records have since sounded better, but my record player has never smelled better.