JSngry

http://theconcourse.deadspin.com/stevie-wonder-is-not-blind-the-evidence-1641795715

Are you speculating that the same attitude that precipitated the gap between 1967 & 1974 was in place between 1948-1958? Those were pretty different time frames as far as jazz and jazz record making. The former thriving, the latter, not so much.. Along those lines, who approached who about Teddy recording for Contemporary? He them, or they, him? Or, I guess more chronologically relevant, PJ, not Contemporary. Interesting too is the chronology between 1958-1960, two 1958 one-cut sessions for inclusion in a PL "Blues" anthology, a 1959 live half-album side for Metrojazz (coupled with the Metrojazz Sonny Rollins/Music Inn date), and then, finally, the 1960 PJ sessions, which got the ball rolling there for a while. It took two years to get Teddy excited, or what? Seems odd, might not be, sut sure seems. Let's not overlook, though, that Don Schlitten always made room on his labels for California-based "bop" players - Edwards, Criss, Dolo Coker, Frank Butler, who else? The label that I always wonder about in all of this is Tampa...their roster was anything but monolithic in terms anything! http://www.discogs.com/label/102350-Tampa-Records Maybe it all comes down to a variant of this - East Coast jazz labels weren't as "scared" of doing business with possible junkies" as were West Coast labels, although Art Pepper, Chet Baker, Russ Freeman, Hampton Hawes, god know who all else, kinda blows that out the water. Maybe what it all really comes down to is this - what got widely documented was perfectly valid, but there appears to be no equally valid reason for what didn't get as reasonably equally widely documented that is preliminarily based in "social comfort", which may or may not be primarily driven by race, and definitely should be examined on a case-by-case basis. As Gioia speculates, what might have transpired in terms of a larger net being cast for recording opportunities of the LA "bop" players if Ross Russell had, if not stayed in California himself, at least kept an active Dial presence in the city? Gerald Wiggins?

http://www.jazzdisco.org/teddy-edwards/discography/ What I found almost unbelievable is the gap between 1948-1958. You don't see generally see a gap like that unless somebody is sick or in jail. Hell, even Dexter got in a few sessions between now and then. Also remember that, per Gioia, Edwards was the first tenor player w/The Lighthouse all Starts, and that "Sunset Eyes" was their theme. And then all that started changing, nor with any indication of it being anything personally racist by the players, it just got to be a "social club" based on all those studio guys having the histories that they did. But Teddy was evolved out of that , for sure, and right about the time the PJ/Press hype thing started taking off. But a ten year recording gap, how the hell did that happen? Did he get bitter and hermetic or something? There were a few LA labels recording Black players during this time, not as big of labels as PJ/Contemporary, but still...damn, 10 years? Still, form being the original Lighthouse band to not getting paid until 1958...that's a long time to wait in that Get Paid HERE line, that's just weird.

Oh, it is. Either one is convenient relative to the event, but hell, I've gone to McKinney for groceries & car repair, would never think about going to Dallas for that. But it is interesting - I heard repeated references to the "McKinney-Frisco area" and Plano butts assupinto Plano at any # of junctures. And I had chance to talk t one of the board members of this orchestra while we were both looking for the venue (sic, and/or long story...), and hte guy asked me how I found out about the event. I told him in the Plano paper, and he said, oh, you're a Plano resident then? Yeah. Oh, you drove a long way up here for this then! And I was like, uh, not particularly, and he and his wife both grinned this weird grin. So, I don't know what kind of geo-politico-cultural games are going on in Collin County right now (the same guy made it a point to tell me that the orchestra had started a few years ago in Denton but didn't get the support they needed "you know, because of North Texas and all that..." and decided to move to someplace where they would "feel at home, like the Frisco-McKinney" area, so some kind of shit is happening, what it is, I don't know, not sure if I want or need to know. But with all the bigass corporate relocations to Plano, I gotta think that some people are looking at "culture" as a bargaining chip for potential residents, because Plano is neither able nor desirous to take on the residential needs of all the bodies that are going to be coming to work there. Interesting real-time dynamic, though, that's for sure. Would also like very much to be at the Latin Cultural Center on Friday night, but 7:30 on that Valentine's Eve Friday..that's more or less downtown, right? Don't know if I could get there in time with my schedule that day, one knucklehead on Central, you know how that goes...gonna have to take a pass, regrettably. Very regrettably.

More "Other" Stravinsky in McKinney this evening was a pretty mixed bag...other than the dancer, I don't know that anybody on the stage was under 30. Bad news - narrator was highly student-level, the "soldier" was played by a poor young man who really seemed to have no understanding of why any of this was happening around him, much less what role he should have in it (or even that he did have a role in it), and the dancer, though fluid, was not particularly expressive, at least not that I could feel. Good news - the young woman who played Satan was for sure the real deal, and the orchestra played like they were young and hungry and nowhere near ceiling-ed out yet. $16/ticket, could have gotten them for &12 if I had played the Senior Discount card. Perhaps too ambitious a programming for the resources at hand, but dammit, hey. I'm interested in seeing what else they bring. And they're crowd-sourcing some funding! https://www.indiegogo.com/projects/fund-first-season-for-young-classical-orchestra

There should be.

It seems funny, but think about it - for "classical" music anyway, the local talent pool far exceeds the size of "established" organizations and venues. It only makes sense that motivated parties would form their own bands (yeah, I'll call a chamber orchestra a "band", and to look for "homes" out on the fringes, which are no longer the fully provincial farm towns or even the mostly provincial bedroom communities they were not too far long ago. Get some funding, do community outreach/educational programs, and present an interesting enough program played well enough (or better) for a "local band", hey, might be destined to failure, might be the wave of the future. We'll see. Either way, this is the second time I've heard Stravinski presented live in the last 8 weeks or so, and neither time has been in Dallas. And the last time I went to the DSO, the concertmaster gave a little pre-performance fund-raising speech that "threatened" the audience with a possibility of a season of Schoenberg if the money didn't come in, and I'm like, ok, you don't want my money all THAT bad, then, ok. I get it. The a week or to later I see an article in the Plano Star-Courier (the free one they throw w/o being asked) about Stravinsky in McKinney, and I'm like, oh, cool, these people just might want my money.. We'll see. I don't see an Ayler festival in McKinney any time soon, but...a Booker Ervin festival in Dennison? Hmmmm....

Nah, I should just revisit the last dark satanic lesbian vampire who tried to suck the life out of me. That was fun! They don't age, right? Sure hope not.

I dunno man, this dark satanic lesbian vampire thing sounds kinda cool, if you know what I mean. Not sure about getting the "life" sucked out of me, though, are we talking seed or soul? I'd need to know that first before going any further, it'd make a difference.

Stravinsky in McKinney this afternoon!

I don't see any true (imo) "must-have" items on that list, but I don't see any "avoid at all costs" items either...if you think you already know what to expect from this catalog, odd are that you're correct, so proceed according to what you think you're going to like. It's all good, as they say, only this time it's for real. And fwiw, nobody ever went wrong buying an Arnett Cobb record. Nobody.

Never find this guy to be anything less than totally engrossing, no matter what the forum. Thanks for sharing.

And I just found out the IRS is no longer proving 1040 Instruction books at the library. Kill me now, please. This world done gone TOO FAR wrong.

I'm beginning to be of the opinion that some things are great without being GREAT just because they're SO damn good, this album being a prime example. I mean, this was not an elaborately plotted "production" or "event", it for damn sure wasn't the byproduct of shuttered worried obsession over minutiae and paranoid eye-for-detail, this was just some guys who MIGHT have had a rehearsal or a few runthroughs and then, roll tape, get paid, go home. That the results came out this SO damn good is its own form of greatness, I do believe. It's just so damn....expert in the meaningful way, expert and RELEVANT to the moment, not Expert as in here's everything there is about that, this is "it". And perhaps...how much Jimmy Heath is there on record from 1965 to 1972? Not all THAT much, and if you left off at Riverside and picked up at Cobblestone, you'd have to wonder WTF? happened in between. Well, here a part of that is, perhaps not a MAJOR part of it, but still, progressing to be documented.

Apart from all that notwithstandngs, my copy of the AARP magazine just arrived and I did NOT get a free CD in it, so fuck you AARP, fuck you Bob Dylan, fuck you this whole wide world of incompetent incontinent incomvertpoops, you don't love me, I don't love you, so let's kill each other and call it a day, supper's waitin' at home, and I don't know, it just might be chicken.

Didn't know the name but then saw the face...DEFINITIVELY remember now. Don't know if this makes sense or not, but some face-types from the past don't seem to have evolved forward as much as others. I look at Ms. Scott in the picture above, and it's like, damn, did just see her in the mall last week? RIP Emma Matzo. Enjoyed your work, still enjoy your face, forever in peace may it wave.

Jimmy Heath, Barry Harris, George Tucker, Roger Humphries, May 8, 1965. Can't say that I've ever heard a Carmel Jones record that was less than top-shelf, but I only recently paid attention to this one, and it's gotten its hooks into me under my skin, repeats and repeats in my ear and in my changer. A treat to hear Barry Harris give up a Son-Of-Sidewinder solo on the title tune, which itself is a treat as a boogaloo which rather severely downplays the drums, sometimes to the point of having them remain tacit. All in all though, it's just five guys who speak the same language conversating in a very high level of comfort and confidence. Laton was talking about how sometimes he like to listen to a record just for the comp, well, here one is with which you can do that all day long, for real. It's Real Deal Time with this one, yes, yes yes.

The Lemon Pipers The Green Hornet Mr. Tambourine Man

Jason Kidd The Joker Keith Card, DPM

Miss Bunny Jessica Rabbit Rabbit Maranville

What kind of scarf are we talking about here?

Did not put that together, it was passed over to me by a non-board-member. But you know it belongs here.

uhoh....