JSngry

There will always be some commercial that thinks it needs "Raindrops"...

It's the pink one, right? I've had it for years, and agree it sounds great, natural. I figured it was mono, actually. But on the inside jacket, after the liner notes, in fine-ish print, it says "Electronically re-recorded to simulate stereo". Mine's a radio station promo copy, KG 33341. And the white promo labels all say "Stereo" Maybe there was an actual mono issue? Or maybe they just lied about it because it was 1975 and they figured that real mono would turn people off. The only place I see any mention of that re-recorded business is that one spot at the end of the liner notes. No matter, somebody should buy this. It's a really, really good collection of Ellingtonia, and with "The Clothed Woman" & "New York Blues" leading it off, a pretty damn important one. Definitely a transition period for Ellington, the shift from Greer to Bellson, and from Hodges to Smith occurs right in the middle of Side 3, and, yeah, it's sudden, to put it mildly. But even the "curiosities" like "Joog Joog" are quirky in the way that Ellington's lesser works often were. And oh yeah, You also get "Snibor" and "Monologue". And the original "Jam With Sam".

Billy Vera got involved the last time any concerted Vee-Jay reissue program occurred, and good things happened while that lasted iirc. As to why they would buy it, my hunch is for licensing as much as actually issuing.

DP Combo El Gran Combo Felsy Jones

Just checked all three of 'em, and yes, apparently so.

Anything for a laugh!

(Date Of Sexual Awakening x Date Of Increased Earning PowerJob Stability)/Date Of Fantasizing About The Sitter And It Bringing About Potentially Illegal Behavior = Beginning Of Classic Rock Era Of course,, Classic Rock is only sometimes = classic rock, but that's another article to which I doubt there's any meaningfully sensationalistic link.

Ok, not really. You go, Boomers, you GO!

One of the very first jazz records I heard was an Atlantic 45 of "Una Muy Bonita". Instant imprinting occurred., in, literally 10 seconds, less than 10 seconds, to be honest, more like 4 seconds. Yes, it's a loss, but not really. As testified to in this thread, the guy changed so many of us in ways that are irrevocable. Such a thing is never really lost as much as it is transferred. So RIP, Charlie Haden. You have not been lost, you have merely been transferred from the finite. Thanks, love, and won't forget, can't forget.

Not really...Farrell was in a different place as far as "vision" goes, I think. Grossman/Liebman were, at that time, pretty much into getting as far into Tranemath as possible as quickly as possible, full speed "ahead", no looking back, whereas Farrell, although also into doing the Tranemath, was at heart such a confirmed "hard bopper" that I don't see it. To say nothing of being at a different place in his career path as the two younger guys. What would have seemed more "logical" to me would have been for Horace & Elvin to have swapped tenor players on that gig. But then again, Elvin almost always used a very specific type of tenorist in his bands, and Farrell was more of that type that Maupin. Still, in 1968, I don't know how much that mold would have been hardened...

A.J. Pierzynski: Baseball's Hate Sink http://www.sbnation.com/mlb/2014/7/11/5859442/aj-pierzynski-red-sox-white-sox-dfa-release HAHA!

Yes, "Carol/Three Points" is added as Cut 2 of Side 3 of In Transition ("released here for the first time", they say). But it's subsequently been added to the CD version of Love For Sale as the last cut. Even if you have the CDs, I'd recommend buying the LP set anyway. Nice package (if you're a tactile-oriented person, those "paper bag" BN twofers are a real treat!), and it sounds great as well, especially the Transition date.

http://wwX.emusic.cXm/browse/album/all/label:1042149/?sort=downloads Please keep in mind that the above is NOT an exact link to the site, as that would be against board policy. So, just...you know, improvise.

The Barbier CD-Box arrived today and due to time restricitions I could only give it an earfull.....the most striking aspect is the harshness, not to say bulkiness not witnessed before in a Satie interpretation....very intriguing for sure....look forward to hear the complete set later...reiterating my thnx for subject recommendation !!! Yeah, I've been hitting this one all week...the word "bracing" keeps coming to mind, as in WHOA! Like, out of nowhere, didn't see that coming STOP WHAT YOU'RE DOING. Fun rides, these are (keeping in mind that for me, "fun" simply means getting fully engaged without explicitly either asking for it or trying to). Another "thank you" to Mike, for real!

I guess Tony Bennett was there? http://www.theguardian.com/culture/2013/oct/17/tony-bennett-never-worked-day-life

Not sure that this has been mentioned before, but here's a variant on the You Got To...band, with Bill Hardman on trumpet. Cobham is much more...assertive than he was on the studio date. You can decide for yourself whether or not that's a good thing, but either way, one more indication that Pandora's box had been opened, and all the king's horses and all the king's men couldn't put them back in the bottle again. I really dig both Maupin & Hardman here, for totally different reasons. It seems like neither is really interested in what the other is doing, even remotely, but here they are on the same gig, so, hey, gig it is. And Horace? Hey, Horace ended up using Michael Brecker, Bob Berg, Larry Schnieder, Ralph Moore, Ron Bridgewater, definitley NOT Benny Maupin. Horace wanted a certain sound, period, experiment on somebody else's gig, ideally your own, if you can do that. But for tonight, we have Bill Hardman & Bennie Maupin, so this is the gig. Right now. = this is life, that's what it is. It ain't very seldom ever clean, best efforts to the contrary. And Elvin has Joe Farrell! Jesus, Elvin and Jimmy Garrison. Win, always.

"Enchantment"! I have a dream that there's a universe somewhere in which "Total Response" as issued as a 45 with the solos edited out, or severely down. Because I love the groove that's gong on while the singing is happening.

I see a few Ellington (and other) things that look, shall we say, interesting. But is this total POS bootleg, or is there at least a little love in there? Nothing I see has been grey-marketed before to my knowledge, so is this just rips of torrents, or, again, is there a little love in there? And what's up with that (those?) live Wild Bill Davis side(s)?

James Last Enoch Light The Ray Charles Singers

The Xenakis works sound a little pedantic to me, but the two Penderecki things are sheer giddiness executed even more giddily. I was alive and almost old enough to know about these type records when they were being made, but not yet in whatever proximity it takes to get ensnared. By the time I was, things like this were certainly heard and made an impression, I mean, these guys were Heroes Of The New Music Scene in the Composition Department, you could not NOT hear them, but the spongemind is not necessarily a discriminating one. Not to say that it has become one, but the gulf that I hear in content between the two composers' works presented here is not one that I believe I would have heard then. But either way - Lukas Foss..I'm beginning to think that Foss is one of those "buy on sight names", because he's been having a higher than usual "in the zone" success rate for me. For comparison, there is this: which, ok, that's some hard shit, and I know it's guts and maybe not glamor, but dammit, the Foss/Buffalo version has a spryness to it in both tempo and execution that puts it in a whole 'nother level of "experience" (and maybe even recorded a few month earlier to boot, the Foss was). Foss has that opening section sounding like the backwards record it might have been meant to sound like. So yeah, Lukas Foss, and yeah, Buffalo Symphony.

Mission:Impossible, Season 1, Episode 26. "A Cube Of Sugar". Score by Don Ellis. Not "great" but I'm begun watching the show in chronological order (and paying close attention to the scores of each show along the way, just for grins) & this one jumped out at me almost immediately as being noticeably different than the ones before it. Of course, it's TV & psychedelic drugs, so there is that, but still, hey, Don Ellis, 1967, and prime-time tv. Best/worst of worlds, etc. https://www.youtube.com/watch?v=Q27JFAgiJJg

Uh...no.

One should never putt a question to Chuck Nessa.

When I watched some Clutch Cargo a few weeks ago, Polynesia was the album that came to mind. Come to find out it was Paul Horn, but there it is.