JSngry

Anybody who has November 2 free to be in Houston can have this to do while there: http://www.dacamera.com/1415season/morton_feldman%E2%80%99s_for_philip_guston

Karen Philipp does sexy better than sexy. She currently resides in Minnesota. I wonder who got "make" into "maeyke", her or Lani or Sergio or Grusin, or Skeeter Davis, or is that just one of those sex things that music mojo will bend you into without you even thinking about it? And it still blows my mind that the Dom Um Romao I saw going batshit crazy madgood out in front of Weather Report in 1974 was this same guy on this same gig. Pretty World all the way, except when it's not, but oh well, c'est la vie, no doubt.

I set up an Astrud Gilberto channel on Pandora (and somehow it thinks that that means I also want to hear lame retroass French-type cafe songs with or without accordion - which I do not want to hear, not now, not ever) and new versions of this song, old and new keep popping in. I "like" them all, and that keeps 'em coming in. Pandora is fun for that. Still waiting to get Art Garfunkel's version, but certainly in no hurry, take your time on that one Pandora. But I'm surprised that this, the very first recording of such an iconic piece of music has never been reissued? What kind of twisted legalities have kept that from happening?

http://en.wikipedia.org/wiki/Waters_of_March But can that possibly be correct? Still? It's pretty damn frisky! And peppy! I like it! Who's the arranger on this, btw? That's some cool stuff that doesn't always land exactly where you'd expect sometimes. Not sure, but I think I heard Art Garfunkel's version of this in a head shop when it first came out, on what was left of our "underground" FM station in fall of 1975. Freaked me ut, the lyrics did, which I suppose they have done to many people. I went back and described them to somebody and they said, oh, that sounds like the new Paul Simon song about all the different ways of leaving your chick, shit just keeps rhyming and going on forever, and I said, well, no, not that, and this time I was right, although I still give him credit for kinda being in some kind of the same ballpark, very roughly. Anyway, it was that song, and it was somebody's version, and it was on the FM in a head shop. Tell me that our collective evolution has been forward, and I might not automatically agree, based on this incident alone! #truestory

I'm trying to imagine where the fringe benefits of being a musician who also booked gigs @ Slugs' would potentially end, and so far, I can't get there.

Mr. Klamm Robert Lamm AMM

Didn't one of these recent interviews have it as LaMont Johnson who got it going? As for Slugs', I would take it as the plural possessive, as belonging to the "slugs", the name of which was explained as having some philosophical derivation.

Message sent, hopefully in time.

I've always thought a Chyron was just called a "crawl". I guess the renaming is supposed to make it less irritating and appear to be the inevitability of the future that it's becoming?

Just...stop the Cardinals, Giants please. Bear the Giants no ill will, but was pulling for the Nats, just because. And Bryce Harper, once irritating as hell to me (if for no other reason than being named "Bryce"), is beginning to grow on me as the kind of no-nonsense asshole that you'd never really want to hang out with but would love to work with above anybody else. The jury is in! Now, in other news, Anaheim fans finally figure out why we "hated" to see him go, but didn't really mind. http://www.halosheaven.com/2014/10/7/6943341/hambone-boneheads-the-fans And finally, hey in the Season That Hated Life, at least there was this, not just once, but several times. That sound you hear is hope, springing eternal.

wow, yeah. Didn't even make it on to the Bebop Revisited album that collected the rest(?) of the session. Regarding source materials, here's some perhaps interesting reading for people such as myself who don't really know the full back story of Dial's post-78 progressions/possessions: http://books.google.com/books?id=m8NNXtuFeukC&pg=PA6&lpg=PA6&dq=dial+ethnic+series&source=bl&ots=zaJ880-Uhq&sig=ddidZcXDl4HcNUx0Y7ndnJYcWD4&hl=en&sa=X&ei=bq41VP3FGZKuyASq9oGwBw&ved=0CCAQ6AEwAA#v=onepage&q=dial%20ethnic%20series&f=false

Pete Townsend had it right, even if he didn't follow his own advice.

What we're looking at with the items under question in this thread are unauthorized releases of live recordings (which themselves may or may not have been authorized to begin with..if it's a Euro radio broadcast, the odds are good that it - the broadcast itself - was). "Bootleg" in the most basic form/sense, former Italian (and, apparently, Israeli - my Unique Jazz LPs came from Israel, although they differed not one bit from the Jazz Connoisseur LPs from Italy!) copyright loopholes not withstanding. These are releases for which nobody legitimately involved ever said, yeah, that's cool, where do I sign? And actually, I bought those things back in the day. Hell yeah I did. This was before bit-torrenting and all that, and live shows were hard to come by. I don't claim it to be "right", but...like the man said, to live outside the law you must be honest, so no illusions, and as much corrective/balancing action taken as possible, overcompensation at times, actually. The Euro/PD Porn things, hey, I'll not buy them myself, but they have at least a veneer of legality in their countries of orign, and were at one time fully authorized on all fronts. If editing out of links occurs in discussions about items like these, it most likely won't be by me. And the Fontana things...definitely probably back-alley legalities, but the veneer of PD-Propriety within Japan apparently exists. So link away until proven otherwise. But these are not that, never have been that. And unless/until the board owner changes the board policy, linking to items of this nature will not be allowed. Discuss away, just don't link. Ain't gonna be any simpler than that.

Let's do a little homework here... Also being offered by this label (Crowntokuma), in addition to a ton of what certainly seem to be legit releases: Art Farmer - Art Worker (formerly on Moon) Bop Fathers Complete Edition (likely covering at least some of the Giants Of Jazz Lotus material) Art Blakey - Art's Break (formerly on Lotus) Stan Getz - Grand Stand (formerly on Joker) Griff/Dex - Jazz Undulation (formerly on Joker) Mingus - Statements (formerly on Lotus) I don't see any "for sale in Japan only" type thing, I do, however, see this: So, the answer to "what happened?" is likely an extremely simple one - somebody made a deal to get their Joker/Lotus/Passport/Etc bootleg material released on CD in Japan (interestingly enough, I don't see the Sonny Rollins side from this collection being offered...). The odds of that somebody being anybody other than whoever it was who's held that stuff from the git-go is very slight. So the assumption is that boots they were, boots they remain. Proof to the contrary is gladly welcome, although certainly not anticipated. Not that I don't indulge in such things myself. I certainly do (and do own most of the items listed above in earlier LP incarnations...I know bootlegs, ok?). But board rules prohibit linkings to bootleg material, and barring the extremely unlikely simultaneous negotiation of rights with the estates of all the above artists and/or any other legitimate rights holders of the material in question, bootlegs they will continue to be considered. Pretty damn basic common sense, really. Buy them, hell, the Ornette is a motherfucker, actually, the two basses on "Lonely Woman" will shift your phase, believe me, just don't bitch if/when direct links to them are removed from the board.

Yeah, whatever. These particular recordings have been booted more than once, and have never been legitimately issued. No indication that these are any different. Again - these are not Euro-PD-Porn of once-"regular" label issues. These have never been anything but bootlegs. If the distinction is too complicated, well, go back to school, take an acid trip, buy new socks,or do something/anything to rattle the brain back into action. It's not my job to explain basic reality to you. That's on you. Work out your paranoia/inferiority issues elsewhere. We have basic rules here, and they have been enforced regarding two extremely unambiguous bootlegs. For the record - I have both issues myself, and have made it very easy to get to the actual CD Japan link. Holier than thou, no. Smarter than thou? In this case, yeah, not even close. Or so you're making it look. End of story.

Since the download links have been removed for a while now, here's a blog that will tell you everything you already didn't know about MPS/SABA (and a few further offshoots). an incredibly diverse-within-its-own confines catalog, really. http://mps-love.blogspot.com/

Two Red Garland's, remember? The Quota was the other one. A quartet date w/Jimmy Heath along. Didn't get to hear Auf Wiedersehen until relatively recently. Pretty nice, but my preference remains for The Quota.

Yep. But good to see you "live" again, for real!

Where the hell you been?!?!?!?!

Sorry, had to edit the links in the original post, as these items are both bootlegs in the universally understood and accepted sense. However, if you look "n"-to the URL of where the now-edited link takes you, all should be well. Both would be worthy additions to a completist's/scholar's/hardcore fan's collection, but remember, they are bootlegs, not professionally recorded record recordings. And ain't nobody getting paid. Not that they usually do, but just for the record. If you do this, do something else to balance it out.

I dig it for the writing and the ensemble. The solos are all fine, but (mostly) not the reason for digging the set. Back in the day, I always had minor reservations about the Akiyoshi/Tabackin band as having a little too much "studio player" tinge. But revisiting the material collectively like this finalized the realization that Toshiko had a voice, that this was it, and, really, it took players of that caliber to make those charts speak the way they did. People (including a few people I know who played in the band for a little bit) often call her writing "busy", and sometimes as a negative, and that it is, but there's a difference between "busy" and "cluttered", right? I find that in the end, it's a helluva lot of detail, none of it superfluous or gratuitous. Or, as one of my aforementioned friends said upon hearing Monday's 4 Seasons for the first time - "Man, that's a lot of things going on all at once...she comes by it honestly, that's for sure". It might not be for everybody, and it might not be the type of thing that hits you all a once...it's not easy music at all. But hell, buy it now, figure it out later if you have to do it like that. Because there is a "there" there, definitely.

Red Garland!

I'll leave Moms to his own defense, but aim the attack correctly - it was I who goofed on Malaby's shirttail hanging out and the sloppy jeans. It was a joke, but hey, when I get a nibble... Tot he point, though, Tackas's photo on the program was at least 10 years old. Everybody walked out looking a lot older than they did in that photo. Shirttails were out, but everybody had nice shoes, too, and there were no wrinkles except on the faces, and they were of the good variety, as it turned out. Still, is the marketplace in that world so fragile that you gotta use that type of photo to attract non-hardcore audience? Or are people just being lazy, maybe on the local end? Point just being that inside the music, that shot couldn't matter less. Outside the music, inside the business, well, yeah, maybe it does. To what degree, hell, if I knew with any certainty, I'd lose weight, get a tailor, and start getting steady booked. I'll leave you now to Mr. Moms, who will address those points which were properly addressed to him.

Yeah, the Rascals were another one, great singles band, back when pop radio was a sustainable life style and such things really mattered. And they matured a helluva lot too, really grew into some neat musical shit.

I think Revere was a pretty good businessman, or at least became one. That band worked the oldies/state fair circuit for a loooooooong time, and I'm somehow under the impression that it was his business, not a front for somebody else's enterprise. I don't know how much of the original money he made, if you know what I mean, but I do think he at least came out of it being his own puppet. I mean, for archetypical AM Teen Pop-Rock between 1966 & 1969 or so, was there really anything better than this? Just shut up, play it LOUD, Play It VERY LOUD, jump up and down (literally or otherwise), laugh your ass off, and then get back to reality (which, if you were a teen at the time, say whaaaaat?, but now, hey). That's what I want out of this stuff, and damn if I can find anything better for getting it. Limited function, but maximum efficiency.