JSngry

That's the hungry right there, making me.

Yeah, I'd go with that one. Funny, on that Period side I posted above, I just noticed how Thad's phrasing sounds a lot like Don Cherry only with a brassy sound. Real "bursty". He was playing coronet a lot in those days, wasn't he?

That Period album with Sonny on one side, and a group of Thad group on the other has some excellent playing by both leaders. The Sonny cuts are out there in The Freelance Years, but the Thad cuts are a little more orphaned. Discussed here, sorta I still like the stuff with Mingus as "Oliver King". Thad was handling all that bitonal stuff with a perfectly straight face, a quality he would maintain for as long as I can tell, so I guess he was hearing like that before, during and after. I love it, there's a color that comes from it that you really don't get out of anybody else's playing, especially with that real bright tone of his thrown into the mix. Ok, this is probably all written (except for, perhaps, the ending tag, which if improvised would be all the more telling), but still, delivered with full understanding, purpose, and conviction.

Yes, Happy Birthday to Organissmo's own Mr. Happy Birthday. Hope it was a good one!

Somebody (maybe here?) mentioned once that Ben Sidran boasted that "Nardis is Sidran spellec backwards", and of course it is, but apprently Sidran was saying that Miles wrote the tune for him or some such, and of course, ha ha ha. But nobody's ever put forth a credible explanation of what the name might otherwise mean. So, tonight, I see this: and I figure, ok, I'll bite, hand me the internet. Found this article http://flashbackdallas.com/2014/04/03/nardis-of-dallas/and this quote: Apparently, Nardis of Dallas was pretty high-end shit, a known quantity, no slouches. Can't tell if they had a men's line or not, but no matter. Miles knew fashion well enough, and I wager that the odds of him knowing the name "Nardis" in that regard are better than the odds of him not. Maybe even Miles knew the company owner or their NYC rep personally. Who knows? But at least the Nardis/Sidran/Miles thing makes a little more sense now. Maybe. Now, pivot to Zapruder... It's complicated, but there's a pretty in-depth connection there, regardless of any conspiracy theory theories, and they are documented here: http://quixoticjoust.blogspot.com/2011/06/close-up-of-abe-zapruders-employer.html So there. Nardis does appear to have made nice stuff though, for real. etc.

Not as much as you'd think outside of Basie orb, but he was in top form on Monk's 5 by 5 by Monk. That's an album that is a bit "underrated", imo. Also, his early work with Mingus (as "Oliver King") and under his own name on Debut is sometimes shocking in its harmonic invention. Thad was one helluva player. In fact, a lot of the early reviews I've read of the Thad/Mel band lament that thad's charts were excellent, but they didn't quite reach the inventiveness of his improvisation. So go figure that.

Yeah, that's a 20 buck show, easy. But/And seriously, that Kodaly is indeed a cool piece of music.

A Bird In A Gilded Cage A Stranger In A Strange Land A Voice In The Wilderness

I'd cautiously claim that the only truly "significant" Monk Columbia album was Underground. But the big band one is worth it for me because Overton's charts were a little better thought out than his earlier ones for the Town Hall gig, and mainly, beacuse Thad Jones is just freakin' brilliant every time he opens his mouth. You don't generally get genius-level trumpeting on Monk records (with fullest possible props to Ray Copeland & Idrees Suleiman, strong personal voices to be sire), but on this one, you do. Also, Frankie Dunlop was a big band unto himself, unlike Art Taylor, who was Art Taylor unto himself. However, Sam Jones cannot be replaced..

Ok, here's what I like, the solo concert is $25 (or just $20 if you subscribe to the series, like we have just done did): http://www.nashersculpturecenter.org/engage/event?id=147 OR.... you can hear her featured with the DSO, playing just one piece, and pay about $100 (a little less if you want not so good seats): https://www.mydso.com/season-tickets/subscriptions/14-15-ti-classical-series/productions/alisaweilerstein.aspx# I understand, different economic models involved, and probably the DSO booking made the solo gig feasible for all concerned, but still, hey. This Soundings series at the Nasher http://www.nashersculpturecenter.org/engage/2014-2015-soundings-seasonseems like it might be "iffy" (if anything called "Yellow Barn" doesn't raise at least part of one eyebrow, nothing will...), but part of "iffy" allows for maybe pretty good, or better. It's not like you can go into a club for drinks and Schoenberg on any given night. And it's not like the DSO programs with one eye on reinforcing the status quo and the other on.... anything else. Good band, but...it is what it is as far as that goes. But anyway...about Weilerstein herself, anybody else besides David (and I thank you for that, sir), have any impressions, or even actual opinions? I don't care if Moms himself stomps on in and calls here a monument to the eternality of vapidity, the money's already spent, we're definitely going, I'd just like to go with some sort of real time perspective in place, not just oooohhhh, great cellist, great music, AWESOME. Because I don't need it to be awesome to be worthwhile, although that's never bad. I would, however, prefer to experience the performance in something besides a total vacuum, dig?

Win-win, right?

Look for a little sprocket-shaped icon on the home page. That'll be the settings.

Actually, had occasion to play one back in the day. Some guy had one for reasons unknown, and we'd do free jams together. I'd use it for texture and basic melodic lines. The very rudimentary fingering system of the instrument made it easy to manipulate in that way. Certainly nothing compared to the oboe & bassoon families, both of which will make you curse life itself, at least initially. This, this was easy, once you figured out the double reed thing, which is really pretty intuitive once you realize that its two reeds you need to make vibrate, in sync, not just one, against a mouthpiece, no rials and chambers, just reeds. I started playing music at age10, using Tonette/Flutophone, and this was the same fingering system. Plus, hey, shawm, musette, Dewey Redman, it was cool, or seemed to be. I'd probably recoil in horror now at what I did then, but...no evidence survives!

So her father will be playing as well? Excellent! I'm encouraged also by the inclusion of a piece by Zoltán Kodály. That must be a tribute to Larry Young or Woody Shaw, I'm thinking.

Laverne Gillette Joanne Robinson Andrew Hill

Didn't you just have some AOL-related buggery gone wild or something? Maybe related to that? Check your Yahoo groups settings (assuming that there are some, I don't know, I only have an email account with yahoo, nothing more. But it's got settings!) and then your browser settings. Or do nothing, if it ain't broke, etc.

This, Town Hall, and what else?

Solo recital, not particularly expensive, "a program framed by Bach’s cello suites and exploring the works for solo cello of Zoltán Kodály, Benjamin Britten and Osvaldo Golijov". Sounds like a no-brainer as far as a pleasant evening, maybe better, but would be interested in hearing informed opinions about Weilerstein, relative to the contemporary scene as well as The Grand Scheme Of Things.

When I was a kid, I'd see Atco inner sleeves with albums by "Bent Fabric" & "Mr. Acker Bilk" and think that wow, this must be some psychedelic shit. BENT FABRIC?

The Duke of Earl Earl Hines Hines, Hines & Dad

Always interested in hearing how any problem gets solved.

They cover Chick Corea too!

Cox Welding Services Jaco Welding C & J Services Inc.

Yeah, Live At The Meat House. Very limited pressing, probably gone for good in its original form.

Ran Blake, composing for the MIT Wind Ensemble, that ain't gonna be on no jazz label, and so far on just one classical label - Albany. Is it "great"? Hell if I know (or, at this point, care). I do know that it has Ran Blake characteristics running all through it, and the transmission of those characteristics to wind ensemble gets a little Ives-ian to get into it, and that's a good afternoon's worth of provocatation going forth right there, so once again, thanks Albany! http://www.albanyrecords.com/mm5/merchant.mvc?Screen=PROD&Store_Code=AR&Product_Code=TROY1016&Category_Code=a-BS