JSngry

I've never heard that record, but mention of it has crossed my path twice recently. Here, and in an email a friend sent me recently. He was playing a gig and to quote him: "the pianist played Hank Jones's introduction from the album note-for-note perfect. I couldn't believe my ears, partly because I didn't know anyone else who was a fan of the LP--for a minute I thought maybe Duke had done a similar intro that Hank had lifted, but no. Joe could see the expression on my face while he was playing it, and afterwards said something to the effect of "so you know that record, too?" The sort of inside joke that can make playing an awards dinner a tolerable experience." It was only the second time I've ever listened to the LP, so I would have missed the reference--I'm really not a fan of Al Hibbler's vocal style. Roland Kirk does sound good on the recording, of course. I LOVE that record, at least the vocal side. Hibbler overall, ehhhh...but that record, yes. First heard it on some Sunday night AM jazz show out of Des Moines that would make its way down through the air to Gladewater on some nights for some minutes...might have even been the first time I heard RRK, come to think of it, maybe. But yeah, I love the groove on those vocal #s and how everybody hits the pocket just right. And Rahsaan...that cat was a master at playing standards, his Atlantic records didn't always get to that part of him, and understandably so, but this one did. All in all, perhaps one of the best "jazz vocal records" ever made, at least one of my favorites. NP: On the whole..."interesting", although, people who dig Joe McPhee's Tenor and have a level available to hear it "technically" might have a good time listening to it in conjunction with the Dlugoszewski piece on this record...just goes to show you how people coming from different places for different reasons can still cross paths, unintentionally and unnoticed, and even if they keep going like they came. Unintentionally, unnoticed, yet nevertheless unmistakably. No, not the same "thing", just the same place, for as long as they're both there. And you can say somehat the same thing about this and Lester Bowie too, although there you have the "trumpet player gonna get to this eventually if they keep looking for it, it's there to be had", not like McPhee and tenor (although yes, I know).

I you get a chance to pull out the details, that would be great! I'm also assuming that this is a private recording, and not a commercially released affair, correct?

What I might expect to see but don't is the Birdland tunes with Candido. This more than the Woody Herman things.

I am that board member, and I can vouch for that statement. Of course, the handling of business on the seller's end went a long way towards that, erwbol got it packed up and mailed out with exemplary promptness, but also, after it was shipped, it got here quickly and safely.

Trying to figure out how the Woody Herman stuff counts as "Cu-Bop" if it's the same "Bird With The Herd" material from KC?

I told Sharif to save his reciepts, I'm good for them. Now Phil wants to go to Henderson, Texas, to see if he can't find the garbage can lid that Dizzy wrote "A Night In Tunisia" on, but I'm trying to get his to understand that Texas is not New York, that yes, we might be able to take "the train" from Dallas to Henderson, that the train would have to go to Longview and then we'd have to rent a car to get to Henderson, and, really, it's not the most modern of our east Texas communities, but I really don't think a 70+ year old garbage can lid will still be hanging around, but Phil says it doesn't need to be A garbage can lid, it just needs to be THE Garbage can lid, and, really, this guy is driving me nuts, if Sharif hadn't read this thread when he did and got in touch, I was gonna let Phil loose with the Mystery Milk just to see what happened. As it stands now, Sharif looks to pull up to the crib early Saturday afternoon. We got a late lunch scheduled at Salsa Tex-Mexhttp://www.salsatexmex.com/ (apparently Phil has never had enchiladas, and eaten only one taco in his still-young life...go figure that...but I told him he could find some "manteca" in the kitchen and that got his to a happy place...he said something about maybe it was Mateca that was written on a garbage can lid, but honestly, I tend to not pay much attention to him if he's not looking in my direction). After lunch. we're going record hunting for a little while, Phil keeps talking about how this guy named Slippy Slabberwocky who ran a joint here in the 40s and 50s that had a recording setup in the bar, and I told him, no, that was the Recovery Room in the 60s and 70s and it was Bob & Jeanie Donnelly, but I guess Phil got a postcard from this Slippy guy in 1963 talking about the Kennedy assassination was coming up next week, get ready for that, and...you know how that goes...lord jesus, just get me through the next day and out of the last night, Then, hopefully, a good night's sleep for all of us, and Sharif leaves with Phil Sunday morning. They should hit town midday Monday, plenty of time for Phil to unpack, take notes, and get his eggs fixed the way he likes 'em. And then, physically refreshed and mentally engaged with a whole new set of story lines to develop, back on the air he'll be on Tuesday, better than ever.

His battery mate from the old Capetown Genepools.

Definitely a thing.

Whoa, John Lewis, working that "Morpheus" vein a little bit: http://www.ejazzlines.com/c1804/SCOOTIN-p107157.html MIDI files like this might require some "imagination" to convert into "real instruments" while listening, but...just do it!

How many leaders of that era used the phrase "we sincerely hope you (will) enjoy" in their introductions? That must have been some kind of a thing?

Yeah, as David Sanborn puts in in the liners, Bird "explains the melodies". Never heard it put quite like that before, but, yeah.

Apparently there are many(ish) http://www.ejazzlines.com/Charlie-Parker-With-Strings-Arrangements-c1804.html Has anybody done a project on these yet? Not sure how "worthwhile" it would be given the recorded charts, but I do feel that "Rocker" as heard in live performances was more to the point than were many of the standards, and there are other Mulligan charts in there. End point - "Ezz-thetic"...I feel a need to hear that at least once. And not like this: http://www.ejazzlines.com/c1804/EZZ-THETIC-p106831.html And ok, Carisi! http://www.ejazzlines.com/c1804/IVE-GOT-YOU-UNDER-MY-SKIN-p172920.html

This shit is nuts, the second session in particular. The arrangements do things inside themselves that are so fucking dissociative to each other, and Bird just goes ahead and plays perfectly over them. But the more I listen to the innards, the more and more I find myself asking why THAT? To paraquote Jo Stafford, are you sure that was the best choice? I dig Joe Lipman, Como Swings a minor miracle/major triumph, but this is not that (although, reference the end of "Temptation" - a later not purely stings affair, and yeah, ok, that's more like it). And hello Bernie Leighton, sometimes CRUNCH popping up from the inside, totally "inappropriate", but as far as that goes just wtf was the OBJECT of this game, did anybody really figure that out in a way past make some records of Bird with strings and then make some more? Barbecue even on a pop level, this ain't Axel Stordahl writing for Sinatra, that shit held together from beginning to end, THIS stuff makes the sound but not the music. But still, Bird, FTW, always, even/especially with this stuff.

I was late for work today, the guy kept bugging me to fix him some eggs "Bird Style", which he refused to explain, claiming instead that if I listened to the crowd noise on one of the Royal Rooster (sic) broadcasts, it was all right there. I told him to fix his own damn eggs and he got indignant for some reason and starting rambling on about how a yardbird is a chicken and a chicken is a bird and birds lay eggs after sex with a rooster and Charlie Parker was the most royal rooster of them all, what's so hard about this, just on and on and on about birds and eggs and roosters and shit. I really don't have time for this. I somebody wants to drive over and pick him up, I got your gas, ok?

Beyonce got her hedge trimmed by David?

I miss him already.

It's still not really sunken into me yet that this guy is 68 years old...deep down, I guess I always though he had just lost some hair. No matter, best 32(?) years of my tv-watching life.

Either way, try the great Chicago novelist, John Litweiler. Sure, he writes jazz books of impeccable perspicacity, but his novels are just damn joyful to read, perhaps moreso because they're not burdened with the problem of being about real people.

Just returned from Music on the Brink of War Music From Yellow Barn: Pierrot Lunaire with Soprano Lucy Shelton and Songs of Kurt Weill and Bertolt Brecht with Actors Walter Van Dyk and Liza Sadovy PROGRAM Schoenberg: Pierrot Lunaire, Op.21 Weill/Brecht (arr.Michael Haslam): O Moon of Alabama: A Kurt Weill Cabaret The Weil got a bit hammy towards the end (and moved into Hollywood Weil territory as well, which I thought was a little bit dishonest), but until it did, this was perhaps the damnedest programming in a one-room/one-night setting I've ever experienced. At least that I can remember. AZnd oh btw - Pierrot Lunaire had a freaking pocket. An irregular, atonal pocket, sure, but I was foot patting and head bobbing pretty much all the way through. Then again, I'm not the most coordinated guy in the room , ever. And maybe if that's how it came off, they played it wrong (badly? wrongly?). But hello this - people in the audience with flashlights reading the text rather than listening to it and watching the performance (Lucy Shelton was splendid both vocally and theatrically). Eitehr you speak German or you don't (I don't), eitehr you know the words or you don't (again, I don't). But geezdammit, there's msuic being made right there in front of you..THERE is where it is, not on some printed page. I jsut do not understand... And dig this - there was a lady in a wheelchair with front row seat who must have been at least 142, and she came to hear Pierrot Lunaire! I was like, whoa, she's probably hearing shit in this that I'll NEVER get to. For once, i wished I was a 142 year old lady in a wheelchair. So,...yeah, one fucking gloriously weirdbeautiful evening.

?

Yeah, well, just be ready to tolerate the lack of perfection from the not-well-enough-known musicians from Dallas who played with Gonzalez. We, uh, tried.

Nope. I just took a sniff and dared the tiniest of sips. All went well. Weird....

I honestly do not know. Here's a full list of the catalog: http://www.discogs.com/label/110878-Daagnim-Records Regarding Kings In Exile, that was the first group album released on daggnim. It was an afternoon's worth of free improv edited into individual tracks. Thus the compositional credits going to the group. My personal favorite of the bunch is Anthem Suite. This one also had some edited-into-individual-cuts improvs, but also some pre-written compositions as well, including two of mine, "Deputy Of Jah" and "Fat Butt". I only point that out because unless you have the LP and look at the label, you'd not know it, and...I'd like for you to!

The cost/benefit ratio for using EMS is overwhelming positive, but that's just in my opinion.