JSngry

What about all that Gitanes stuff, who will have dibs on that now?

It's not complicated, really, Aebersold records need to be turned into Karaoke libraries, then a few people start showing up doing Jazz Karaoke, those people get laid because of their radiantcool jazzaura, then next thing you know, you got a trend, because everybody likes getting laid. Then people start buying records to learn the tunes to get the sex next time at the club. Clubs will not look askance at any of that, because being there for people showing up trying to get laid is pretty much what they do, ok? The first person who does the Woody Shaw Karaoke goes into the Hall Of Fame right with the first human to eat an oyster.

Charles Mills appears to have been a real guy: http://musicalassumptions.blogspot.com/2012/09/charles-mills.html

So what's the deal with the cover colors on this one? My copy is a 70s green-label impulse! ,and some of the orange fonts are fuscia, others are white, and the painting is black and white, no orange-ish tint. I assume that the above is the original, but when/how did the version that I have come about? As for the sound quality, my copy says "Re-recording and Masters" by RVG, with the original engineer being George Piros http://www.discogs.com/artist/379890-George-Piros (which kinda leads back to Bob Shad/Mercury and/or Creed Taylor/ABC Records?!?!?!). There's also a what I would presume to be a session photo of Thiele & Max (with Thiele up front "taking charge" and Max in in the background listening respectfully/dutifully, oh the irony), and along with the other photos, non of them really scream "Van Gelder" to me, because...it's not: http://www.jazzdisco.org/max-roach/discography/ I'm guessing that RVG was not yet ready for the choir, not 16 pieces of them, anyway.

Joe was not a particularly tall man, and Carmell Jones is shorter than Joe. Horace looks as if he came straight from the barbershop. Clean! But why are there pillows on the piano? But geez, that's the kind of tune that could get old an monotonous after, like, 4 choruses, but kudos to Horace for knowing what it took to get it there, and kudos to Teddy Smith and Roger "Runaway Hi-Hat" Humphires for playing along, for speaking the language within the language. That's becoming a lost art. And Joe, year, earlier trillier Joe to be sure, but damn, that guy, he knows what he did there, and why he did it - because that's how you get there, you don't just wake up in the middle of the night to piss, come back to bed, and there it is, no, it takes work. And when the video ran out and the music kept playing, I couldn't tell, because Joe stayed right where he had been.

I tuned in earlier than I thought and it looked like your brother was Marcus Miller, and I was all, like WTF? about THAT. Then Cornell West came back on and I thought the show had started late and I was all WTF? about THAT. Then...I dunno what then, maybe I don't care about time a little TOO much these days, but I did see your brother. Dave seemed to really like the band as well!

Started playing this in the morning, played it all day, might take it out tomorrow, might not. It's got that thing, for real.

http://www.timpricejazz.com/articles/johnstubblefield.html I found this a really interesting read, very verbatim-ish/conversational, not at all "journalistic", and there's others with different players here: http://www.timpricejazz.com/articles/index.html The range covers Lew Tabackin, Frank Lowe, Bert Wilson,etc.

I'm pretty heavily into soundtracks circa mid-1950s to mid/late 1970s, and I've never encountered his name anyplace except for this one theme. What odd careers that so many musicians have. Here is a guy who is utterly unknown in the U.S., yet everyone remembers that one piece of music from the Twilight Zone. Looks like he was primarily a CBS staff writer? http://www.imdb.com/name/nm0308350/ and this, at a level of detail (and a visual layout) that is more than I care to deal with: http://www.bernardherrmann.org/legacy/site/articles/misc/havegunwilltravel001/

How rare, I can only imagine, but I can tell you that I felt a similar "liberation" when I first heard the AACM, 1974-5 or so, and time has only clarified what it was all about, which as you say, is that you are as you see yourself, and that this is a freedom/responsibility to not be surrendered or otherwise trifled with. And that, after I started learning about the ways that these people lived and survived, that pragmatism and idealism should never be viewed as enemies, that victory starts with survival.

People got their heads in The Cloud, gonna be a hellstorm of human-sized skullstones when they all get chopped. In the meantime, I'd like it if kids got to play instruments, but if not, okay, use what you got, just make music, creative music. Have a vision, not just a view. You take away vision, you take away imagination, you take away a diversion of the redirective/reconstructive impulse, you cloud the mind with a lack of clarity and induce a mentality where confusion seems normal and unquestioning servitude is not as much a choice as it is a perceived successful fulfillment of destiny. The unnatural becomes the apparent natural, and the individual does indeed become dehumanized to at least some degree. Service is beautiful, servility is insidious, one being willful, the other being programmed. Malcolm X will have died in vain unless and until EVERYBODY gets that. Whether "jazz" is or is not "popular", I mean, hello, Missed Point Allowing The Ongoing Enslavement To Continue Undetected.

Thanks, good to know, and I have no idea who this guy is/was. Pretty interesting.

Somebody help? I got the complete Louis/Ella, new copy, and it comes packaged with this warning not to pull on some strip or something, now I'm afraid to open it, so, what's the answer here, please.

No, not the theme. https://www.youtube.com/watch?v=thfiCZ1CBX4 4:08 and again at 17:07. I might be misremembering, but the cup-muted trumpet part showed up in few episodes that season? No matter, the thing has a very George Russell (of the time) vibe to it, I think.

Yeah, I was getting all emotionalpreachy, but bottom line, there was enough Gordy in the mix (inc. Smokey) that the young kids didn't stand a chance. Knowing some records is not the same as knowing the history, and this whole thing had an avenging empire/deposed kingdom undercurrent to it that was very unwisely either dismissed, discounted, or flat-out unrecognized. Do not for one second think that Janis Hunter does not have memories of what Anna Gordy did to Marvin. For starters. Or that Marvin III has forgotten how he was conceived. We're talking shit that these soap-opera movies and TV series are merely dramatic caricatures of. These are the real deal, real people, shit festering for decades. Beware of dismissing damaged goods who have good lawyers. Beware.

Sorry, not on Facebook. I've got more paranoia than I do social ambition.

Speaking of the actual Twilight Zone, who wrote the very George Russell-ish cue that was used a few times in Season 1, the thing with the two clarinets and the cup-muted trumpet playing the Lydian lick?

I'm not sure, you'd have to tell me what they're called so I could look into it. I meant what tunes have you not been able to locate. Sorry for not making that clear, my bad.

There's been some micro-labels that have specialized in really, really obscure music of this era. Some examples of what you've not been able to find, perhaps?

Are we talking about removing tags before sending the music out, or about preventing them from being ID'ed once received? Not sure, but I think those are separate concerns?

So many Fallopian pregnancies.