JSngry

Solitary Man Brother Love Longfellow

It was a follow-up to this one (true!)

Try to play the video that opens this thread...

Totally. That's how I got sucked in...so much spontaneous yet absolutely deliberate delineation. It's like he dares you to pay get on, and then dares you to get off. Words don't really suffice, but yeah, Steve Lacy!

Lacy is not somebody to listen to if you're not one for the very deliberate expansion of ideas. He drives some people crazy with that, people be in such a hurry about things sometimes, but as somebody who feels you can never take too much time to get anything right, he tickles me pink. Plus, what he's really doing is "worrying" a note in super-slo-mo, breaking it down into mega lines that if sped up would be just one worried note. He's like a blues player who is using the blues vibrational plane to put forth a plan in full minute detail, like life is a debate class, here's my premise, fully extrapolated, you think you can find a hole in this logic, go for it, and good luck.

Today was Moomey day. An annual tradition, always a fun day.

http://www.amazon.com/Accoutrements-AVENGING-NARWHAL-PLAYSET/dp/B000J3IU6E/ref=cm_cr_pr_product_top/184-4617233-8215243

Playin' them slickass heads!

Annie Haslam Roy Wood Don Herbert

I'll never forget when some non-playing serious fan told me about this album within a few weeks of its release - "Say man, you got that new JJ album where him and Joe are playin' them slickass heads?" No, I didn't have it, yet, but to this day, I see that cover and immediately think, yeah, that's the album where JJ & Joe are playin' them slickass heads. Just can't help it. Me, I don't mind the "period" production...kinda enjoy it, actually. Sometimes "timeless" devolves into "coulda been anybody at any time", and some chronological specificity makes it realer than it might otherwise be. This was not Flanagan's only Rhodes outing in Keepnews-Land, there was this one, which actually got good airplay here. Sounded real good on an AM car radio during afternoon drive time, I kid you not. Or maybe I was just in the mood, who knows, who cares? Rhodes sounds like night to me. Club-type night, people just hanging out type night, not serious let's all sit still be quiet and LISTEN type night. At least this type of Rhodes does.

The original commercial issue was a gatefold "two-fer" style package, not a lot on the inside really, (probably the same photo that you have on the back is inside right), but if you've got the original cover art in a single sleeve and with labels like that and not those of the regular issue...what a fascinating find! Here's a link to consider on a "what the hell" basis:http://www.bizapedia.com/ct/WINDSOR-RECORDS-AND-TAPES-INC.html Just looked at my copy, and it's got MASTERDISK stamped in the dead wax, as well as EDP inside an oval, along with the regular matrix #...no way do I claim to be a scholar of such things, or even remotely aware of them, but there's this: http://www.masterdisk.com/about-masterdisk/ and this http://www.christmachine.com/tag/dead-wax/ which seems to me to be contradictory, how can it be both MASTERDISK and EDP?, but like I said, I don't know about any of this. Just having "Windsor" thrown into the mix...sounds like an adventure ready to get going, if you ask me. Congrats!

Colby signs for one more year. Noble warriors do not necessarily win ballgames, but they sure as hell win hearts and, occasionally, minds.

The Trapps The von Trapps The Hills, Hank, Peggy, and Bobby

Milestone Bartz. Ah! "Perihelion And Aphelion" from Another Earth. I keep forgetting that that record has a Side 2...reminder both needed and appreciated.

A real test pressing or a promo copy? In the original hat Hut packaging? Either way, WHOA!

I've long known this about jazz (and known but generally haven't cared too much about rock/pop/etc.), but yes, "classical" music too, and to a degree I'm finding pleasantly surprising. All those Music & Arts live sets and other airshots...I read a thing where one guy described it as "the theater of performance" or something like that, which is a little critic-ish, but still true once you get past that. That Horenstein BBC Mahler 9th...I don't know that you get a commercially-produced record/performance like that, ever. And I don't know that you ever hear the piece the same after you hear it like that. That shit is dirty, in the good/best way. Ragged but right, as they say. As far as real time performers, I think the only real sustainable model of building interest is letting everybody in on the ongoing saga, that's where "everybody" seems to be at these days, if it's over a week or two old, it's over. what have you done LATELY? I exaggerate, but only in service of the point.

I don't think a year will pass that I don't find out about some Verve record that I've never even heard rumors about, musical or spoken word, Granz or MGM. That label is like a bottomless pit of Who Knew?.

I have neither...will take care of that at some point. I'm a casual but firmly ongoing Ran Blake obsessive, if that makes any sense...not somebody I listen to a whole jumbo lot, but somebody about whom I'm generally thinking about/hearing in my head in some form or fashion a whole helluva lot of the time. His mind, his process, his...outcomes, that's some of the few things where it never seems to be wrong, ya' know? Just, never wrong, and you can't find the wrong in it, it's not there. Christine Correa, on Round About, wrong. Ran Blake on Round About, not wrong. Never wrong, Ran Blake. Never.

Out Of The Cool is also a totally different record with "Where Flamingos Fly" following "Bilbao" on Side Two...I'd recommend that all serious Evans enthusiasts check this set out simply to enjoy the effect of the different programming, it's...significant, at least to me it was. The McFarland stuff...a little disappointing. Great writing, but a little moth-bally emotionally (again, to me). Richard Davis, though, hey... Also on the table today (a low impact work day, time to get up every 15-20 minutes and pay attention while listening, Perfect LP Storm!). Forget all about today's "Shecky" synonym-cliches about old-school Vegas hacks, this motherfucker was SHARP. Old-school sharp, yes, but the voice heard here is that of a man who sees and hears everything and is ready for it before it comes at him. The assumption that it all will come at him, hey, that's another discussion, but not this one. PSA - If you have kids who like to music-shop, Skype with them while they do. My daughter & her boyfriend (on premises) & I (Skype-ing with them) found this in the basement of Dusty Groove for a buck, and it's nowhere near as plowed as I expected it to be, being in that place at that price. And the presence, jeez, this sucker pops out of the speakers, POWWWWwwww, Plus, although there's no such thing as THE perfect jazz record, I don't know what that means,, I'll express a personal opinion and say that this is certainly A perfect jazz record. Some people say big bands, why? Well, THIS, that's why. The DG basement inventory is not listed online, so...Skype Diem! Went into this not expecting much...the kid looks like Gary Lewis, it's on Coral, and the liner notes by NFL Hall-Of-Famer Lenny Moore just reek of opportunistic tax-break Presenting-ism, but...it's not a bad record, at times it's a little surprising, actually, when the kid plays like a kid and not an eager-to-please lick-licker. Not sure that Eric Gale was the right guy at this time, he was still green himself, at least relative to what he would become, but overall, I've heard beter by worse. Plus, the back cover shows two wild bill Davis & one Lionel Hampton w/Charlie Teagarden records on Coral which, as with this one, I've never even dreamed about possibly existing even in theory. WTF? UBER plus, though, is Moore's liner essay, which is, on the whole, pretty amazing, if wholly counter to any jazz-hype conventionality. He starts out painting a picture of a kid who literally couldn't even make it through the Star Spangled Banner but who sat in anyway and showed...something, and then Moore took him in under his wing, let him move in with him, took him around to meet all the cats, groomed him until he began to get a rep as "a white cat with soul", and now, here he is, y'all, here he is. But the MEGA-UBER plus is this passage: Hello NFL Hall-Of-Famer Lenny Moore, unwitting catcher of Trane's quantum-ness in action. bravo, sir, BRAVO! Spoonful of HOOT! is more like it..otoh, blatantly commercial/etc/blahblahbla. OTOH, whatever false notes are palyed are played no differently than they are on any pop-record-for-hire, and, most pleasantly, none are played by Shank. Shank plays this shit really nicely, actually. As far as personal investment potential here, none, negative, in fact. But as far as objective appreciation of task accomplished relative to task intended...not a failure, not even. Carol Kay on bass helps this a lot, and Shorty Rogers...Short was doing session with the Monkees too, so let's just say that the lack of condescension and the presence of a real-world sensitivity to what this stuff was supposed to sound like instead of some "jazz interpretation" way of sending a stealth message of fuquitousness from all to all is noted here with respect and a small degree of genuine pleasure. If "Forgotten Genius" is inaccurate, I'll withdraw it. But you gotta prove it first, and this won't be what you'll use as evidence. I'm just now/finally getting around to Carter, and geez, what took me so long, my bad. Comparisons between this and the Arditti are instructive, as well as being the only comparisons I can make at this point. That will change as time goes by, assuming that I'm here to go with it. Anyway, there's an inherent playfulness to this music, not silliness or goofiness...joyousness might be a better word, joy in just bouncing all that shit around, bobbing and weaving it in and out back and forth, that I find completely irresistible. It's melodious as hell, really, full-bore melody. Not "lyrical" but melodic. Melody means a lot of different things, if you ask me.

Why do I still have the feeling that Bill Evans' was fundamentally conflicted about being a jazz musician, or even about "jazz" in general? Probably not consciously, but still...

Have Round About by that duo...still not sure if Ms.Correa is ever gonna work for me...and, when I like them at all, I like singers.

Conducted by Ormandy.

What were the odds? Upon further review, it was 1980, so the odds were better than 50-50. I recall the time on Board Krypton, somebody asked tomatbluenote, hey, these recent Jackie McLean Blue Note records have been great, when's the next one, and tomat, honest man that he was/is, had to say, well, they're not really blue Note, they're leased from Japan, and you now, we'd love to have the money to make Jackie McLean records from now until infinity but we don't, and we're not, and that was that. Honest answer, and reflective of the reality, but if Jackie developed sort of a detached protectiveness about playing being all he did to define himself, well hey, no money for no records, c'est la vie, am I going to be the one to say, oh Jackie, no, don't do that? No, I'm not. Having a casual/random listen to Nature Boy right now, and that's just a sweet record, the kind of thing that has no real "moment", yet leaves the cumulative effect of wow, that's deep. Jackie, Cedar, Billy, and that kid, David Williams, "sound of surprise" my ass, this is the sound of, like Donny Hathaway said (through the pen of Leon Ware), there's no need to look, cause you know who's there. Not that I don't value the sound of surprise, hell, yes, I do, but I Know It's You is of no small importance as well. At some point, the shift of investment moves from music in the abstract to the ongoing-ment voices of the people. "Smoke Gets In Your Eyes", damn, that's pure I Know It's You, and if it's not my baby's arms having been around me a long time, it IS Jackie/Cedar/Billy's voices, they too have been around me a long time, and they too have passed the test, through the good and the bad, and THIS is why I want to post...

Shirley Booth Don DeFore Billy Eckstine