JSngry

Ok, I'll bite - what kind of "different world" are we supposing that Santana lived in so as to have him "never being in a position" to be aware of Pat Martino/Azzara and therefore likely Willis Jackson, or Soul Jazz in general?

In 1971, in the dyas when you could just put on one side of a record and play it over and over and over, anybody who began an album side with this and ended it with this: without putting any bullshit in between was gonna be ok with me, and largely, still is.

Just finished going over the original owner's manuals as well as all subsequent service bulletins and nowhere is it as much as implied that a critique of a record review must or even should be in the form of an alternate record review, especially when the record review being critiqued contains so damn little reviewing of the record of itself in lieu of a boorish, turdish smuggery of the sort generally borne from clipped-wing tools gladly being so toolclipped and then flexing their grounding in celebration thereof.

You call it corn...

Carmen Dragon Carmen Lombardo Carmen Vincent

What Mark De Clive-Lowe did with the Rotterdam Jazz Orchestra on Take The Space Train, is, I think, one of the most interesting big band records in a good many years, like, a 70s fusion record only with drum machines and a real, live big band with real section players and fluent soloists, and a pocket that is broken-beat in nature. I can hear the cringing , but for those who aren't hey, it's a combination of known ingredients that when blended together take on a character that is uniquely its own, like, ok, fusion, drum machines, and big bands, not dead ends after all!

Electric bass? These days, Gene Perez. Not that long ago, Sal Cuevas. What about this thing?

"Slippin' Into Darkness"...that groove hasn't had a chance to age, because it's hasn't stopped yet! And this John Morales guy did one of the most...understanding remixes I've ever hear, doesn't really change anything, just spreads it out more and lets it groove even longer. It's a groove you can't kill, can not kill it. Now some might say, well, that's not really "Latin", and no, it's not. But if you take the "Latin" out of it, what do you have? You don't have that, that's for sure, and that is what you want to have!

To Mary or to Laura? Or to "Mary"? It's complicated, until its not, and then its soooo simple.

Caravanserai is one of my "best records ever, by anybody, with Borboletta running neck and neck. Hell, on some days, I like Borboletta a lot more. But don't "decide" about Santana until you're lived with one or both for a while. The "popular" Santana stuff sounds dated (but still great" to me, but as albums, they're an easy listen. The first two being truly classic "Classic Rock", the third one actually inching towards great. But Caravanserai and Borboletta, whew, that was a zone there. Lotus is in that same area, but it's a lot to listen to if you're not sure about that kind of thing. El Chicano, yeah, they were nice. But they didn't have the juice that Santana had, which is not a value judgement, just an observation.Santana had Big Idea,s and the arch from the first album through Borboletta is pretty damn impressive in their realizations (Welcome kinda pisses me off though, way to much sheen, they're forcing the point, and no sir, I don't like it, not one bit). After that, they decided that slumping sales mattered after all and came back between the lines. Not bad, really, just...you had to really want to be a fan to be a fan, if you know what I mean. Two other bands of the same basic ilk you might find interesting are Malo (Carlo's brother was in that one) & Azteca. Malo, overthe years, held enough of a fan base of the contrarian "yeah, Carlos is good, but Jorge's BETTER!" ilk, and well...I don't know about that, but they were too good to not be investigated at least a little, ok? And Azteca...lots of interesting people in that band, lots of interesting music too, and if the albums were victims of over-production, well, sometimes you just gotta hear between the lines to get past the record and into the music. Another thing that maybe gave El Chicano a different flavor was that they were from L.A.. Santana (as well as Malo & Azteca) were out of the SF/Oakland area, which produced a lot of bands that combined a lot of elements. It wasn't all psychedelia! El Chicano...are you into War at all, post-Eric Burdon? That's a more L.A. flavor too. War albums like The World Is A Ghetto and All Day Music are remarkably consistent listening experiences, they weren't just a singles band (although they were that, too, and a damn good one). Lighter, but still substantial, and still with an unmistakably "Latin" thing going on along with everything else.

This is a remarkable photo, I think, of MTM taking a break from being Laura Petrie, on set, in color. It definitely looks like MTM, not Laura Petrie, and there is a world of difference. I think she's beautiful here, but she's definitely not Laura Petrie, although in a few minutes, she was probably going to go back to being her. http://s3.amazonaws.com/data.tumblr.com/tumblr_lbwhryD5hL1qcra2do1_1280.jpg?AWSAccessKeyId=AKIAJP67HANH6OVWEMMQ&Expires=1414016256&Signature=TMiLibzo0ZDYN%2Brbo4zBSlqPYH0%3D#_=_

Sue Ane Langdon Sue Ann Nivens Sue Anne Rische

Not MTM, Laura Petrie. MTM is somebody else, it seems, although not without flashes of Laura Petrie. MTM is probably a pretty complex creature. She (MTM) was brilliant in Ordinary People, I thought, but so was Dexter Gordon in 'Round Midnight, if you know what I mean. All speculation of course.

Ornery Cuss Honoré Dutrey Oona Chaplin

Did have socks on.

Not just hot, but viciously, aggressively enticing. "Perky" probably means different things to different people, but to me it's essentially a flat-line of possibilities. Laura Petrie was indeed perky, but dammit, she had all the these facial inflections that conveyed the sense of if you want more of this, ok, keep on gettin' more of it, it's here, and don't think there's any end to it, because you'll die before you get to there. The more you get it, the more I'll make you want it. Not particularly broad, but infinitely deep.

Fully?

There is no early autumn in Texas, so why not look forward to a Late Spring? Joe Comfort was the man who convinced me about Nelson Riddle, who was the man who convinced me about Frank Sinatra. I might be in the minority by recognizing it so explicitly, but for how many others through the decades that might be at least in part subliminally true, I'd not want to hazard a guess. So in sociological terms, Joe Comfort possibly = one of the most important bassists ever?

...and a Google Maps Street View car drove through the alley. So they exist (and are pretty non-inconspicuous, if you know what I mean, looked like something out of a movie shoot or something, baig ass camera mounted WAY up high on a compact car's roof). So, I duuno, coming soon to a Google maps near you - Alley View?

Ok, just once, somebody do a review that says, hey, I know that these are sincere, serious people making sincere, serious music, and I respect them on those terms. But whatever their means or ends are, there's nothing here that I can latch on to, or even makes me think I might want to. Sorry, but I pass, and good luck to all for whom that is not the case. That's the kind of person to whom I would say, well then, if you're that personally honest about why you're turned off, let's talk about something else and see what you have to say about what does turn you on, because that sounds like it might damn well be a fun conversation. Nobody likes or gets everything, dig, but what you do like/get, if you speak to it with real feeling and personal insight/perspective, hey, I love it when that happens! Same with what is not being liked/or gotten. Vomit in the bathroom. ok. Conversate with some integrity. Because it's all opinion once you get past the technicalities. So demonstrate some integrity in your positives and I can respect your negatives. Hello, Stanley Dance. But all these clueless narrative synopsis posing as anything other than turdalism, no, that is not fun, not at all.

...and never mind how all the lazy people focus on the "spirituality" of the "late" period and totally ignore the math, of the music which was very real, very specific, and very purposeful. You very seldom hear, yeah, Trane started exploring the links between consciousness and mathematical representations of same, you only hear about how Trane freaked out, started tripping and seeing god, and then finally dissolved himself into one giant Lost Squawk. Ayler, maybe. Maybe. But Trane, no, not even close. And don't even get me started about how Pharoah is so often heard as just a noisemaker trying to keep the energy up. No, Pharoah was using some very specific "extended" techniques with his instrument, and doing so in a very controlled fashion. The energy whas the end, not the means. But a lot of people won't deal with what was involved in the actual means, Hey, passion, squeals, Adorno, etc. Pick one from Column A, two from Column B, throw in a beverage, and voila, there's your "response to the music" All indeed very "white" responses to "black" realities and mechanisms. Not racially/genetically, but in terms of cultural conditioning and a self-limited expectation-based evaluating process. Of course, we're all limited, but you'd think that recognizing one's limitations would either stir the pots of curiosity or else compel one to isolate one's self in the interest of sticking to what one knows to be true in the way that one knows it, in either case, humility in the face of the new and/or unknown. But apparently there's no market for either one of those options these days, it's all about, hey, I know some things, so here I go out into all of them. Latch on to certain elements that do indeed resonate more or less "universally" and then conclude that you've got it all figured out, and when you come up against something that indicates otherwise, find the fault in the thing, not in your possibly un/under-developed sense of what that thing might really be, and then turdificate all over the place for the benefit of people who know even less about what everybody knows than they do about what some people know, and are theretofore unwilling, unable, and uninterested in calling bullshit, because oh well, you know how "some people" are, they assume that if you don't like what they like that they're feeling superior to you, not that their disdain for your dislike is quite possibly not based on your liking or not, but simply on your display of whether or not you have even a basic understanding of what it is that you are not liking displaying an ignorance-based certitude of limitless arrogance. OF COURSE you have a basic understanding, EVERYBODY does, right? As used to be said back in the day, motherfucker, PLEASE.

It's not like if you don't like it, you don't get it, but there's a way to communicate that you don't like something and nevertheless get it. Making sweeping generalizations with no bearing in fact and putting up pseudo-quasi authority appealings, like hey, see, I don't feel bad about turdifizing, they did it too, that is not that way. This guy is like, oh, Om & Interstellar Space & Kulu Se Mama & Live at The Vanguard Again, all the same thing. Well, no. So not the same thing.

.......Wilbur Ware was unfortunately not overly prolific and I agree that all his recordings are important, but again (hope not being too pushy...) if it would come down to 1 TRACK which stands synonymous for your appreciation of Wilbure Ware`s euvre, which one would you choose ?? Ok, I can get it down to three, from which I'll leave it to you to make the final selection. "The Man I Love" from The Chicago Sound. That arrangement has a "showcase" feel to it, like it was designed to be played in clubs by a working band as a more or less set piece, and it sounds to me like Ware plays it accordingly. So I get a kind of "community" feel to it that I really like. "Well, You Needn't" from Monk's Music - both the solo and the accompaniment show how Ware could swing you into bad health and move you ears into totally unexpected places harmonically with his logical yet still atypical substitutions. "By Myself" from Super Bass (also included in the Clifford Jordan/Strata-East Mosaic set) - 7:42 of solo bass over basic changes. As Stefan from SNL used to say, "This one has it all", only, like, in the best, the very best way. I feel funny for not including anything off the Rollins Vanguard date, or from the Grant Green trio side, but in the case of the Rollins, I couldn't pick just one, and besides, that's a perfectly triangulated trio, so...I will say though, that Elvin never again had a bassist so bass-icly propulsive until he got hooked up with JG. not that propulsive! These are just my first three that come to mind. Like I said, any others will do as well!

The rule is against linking only, not discussing (in whatever form that takes).