JSngry

That's the beer that made Mel Famey walk us. But more Moe & Sam jokes, please, seriously!

I'm just getting into the second chapter, where the Asians & Africans have turned into Native-American-ish Buffalo soldiers and there's gunfights all over The Wild West, so it's really too soon to tell, but at this point, I think I'm going to like the overall "mood" of this book, even if the particulars, especially "style", end up going into The Unabridgered Webster's Dictionary as Exhibit 1A1 for WTF???? As for Bill Evans, if it's Against The Jazz Law to have any number of reservations about him overall, then call me Dr. Richard Kimball, because I AM The Fugitive. And if it's against the law, period, to be an asshole, then call me whoever's feet "Careless Whisper" is about, because I, too, am guilty. Jut don't call me Stanley Crouch, because I do all this shit on purpose, at least the part of it that I know about. Stanley...not so sure.

The Cage is more fun to think about than to listen to (the point, perhaps...), but the Foss is just damned good fun anyway you slice it.

I think it's always about neither over-filling the space nor under-filling it, literally as well as metaphysically,, which of course then becomes about understanding what the space is, and if need be, constructing another one which one can best fill appropriately. But that's the difference between interpreting and interpreting, although, really, both are always on the table, always. What gets me about this original is that the "space" of All The Things You Are is now considerably....roomier than it is when played as just a "song". It's one of the most fascinating harmonic sequences to blow on, as there are lord knows how many ways to alter/reharmonize it so that it still starts and ends in the same places but goes so many different places on along the way. But this, this is not about that. Playing with the harmony of the song is akin to buying a building and then playing with different ways to redesign the space, move the walls around,, add a second story, see what we can do with the basement, etc. This other way, this originally designed way opens up the world of, oh, this is a nice building, real nice. So let's buy some more land around it and make it a grounds, not just a building. Free improvisation, classical theme & development, this idea of a song being more than just a repetitive AABA structure, these are all the same basic impulse to me, the need to not be the proverbial repeater pencil, not just in vocabulary, but in structures as well. Granted, the specifics will vary from time/place to time/place, but inevitably, whenever faced with contraction, eventually the urge to expansion arises. And eventually gets countered...and then again, and again. But ok, "jazz musicians" who still play songs and changes, here's your NEW "All the Things You Are", there's a lot more "there" now. So...do something with THAT, blow on THAT, ok? Form - still The Final Frontier.

You know, Tony Williams might well be the answer to my question, although maybe not right away in 1964.

Eight years later, I finally got around to getting this (it was in the right price at the right time). Doris Day really did have wonderful phrasing when she felt like it, effortless-sounding timing, great pitch, and a way of sneaking in some odd-sounding vowels and then getting back out of them that are like a wink that you think that only you are seeing. Sid Feller's charts are...frustratingly excellent. The singing is so good that I wanted to hear some little quirkiness, some other choices being made in the arrangements, and they never come. It nver sounds anything less than excellent, though, so no complaints about what is there. I guess there's some bonus cuts, some Jimmy Haskell things on there as well, don't know, haven't gotten to them yet. Just listened to about 5 songs on the way to my haircut this evening, and another five or so on the way back. Geez, that Doris Day. some people, once the "cultural baggage" (and the mistakes they all made stemming from it) wears off, they benefit from the new light. Doris Day, yes, one of them.

I like the original America cover better, but that was not available to me then, and besides, same music, and if you snuck it onto somebody's changer at a party, they'd see the green label and think, oh, Miles? Coltrane? Charles Earland? and you'd feign inattentiveness and say...huh? Oh, yeah, uh-huh, uh...right. Some parties that worked better than at others, but it did work some!

I was hoping the net result was going to be Mathis making a Capitol-style album, but instead, it's Riddle making a Columbia-style album. Too bad.

All I know about Robert Russell Bennett is that Jo Stafford thought he was corny and wasn't afraid to say so, although very politely. On the live bootleg clip posted on that link, I could see where she could think that, because the singers aren't as good as they need to be to be inside that score. Delicate balances, and all that.

You know what embarrasses Jerry Lewis?

50 bucks to dive in when/where ever is a 1-Click no-brainer right now, in the immediate aftermath of seeing that . About $3.50/disc, DUH!. Thanks! And that, that is the original orchestration as well? Very nifty, if so.

http://en.wikipedia.org/wiki/John_McGlinn Don't know what you mean by "what is that?" I think it's just the song as Kern wrote it to be performed originally. Yeah, that's more or less what I meant...although add on to it the wondering if this was a "concert reading" of the original score...obviously(?) not a staging of the show itself, singing people would also be moving people, correct?...and is that the original orchestration, everything? That transition between verse and chorus is blowing me away, using as it does the opening interval of the familiar melody to entirely different harmonic ends...I've always played that tune thinking of it as "major", but damn, the way that thing sets it up, the "minor" element is subliminally there from jump. Who knew? Well obviously some people did, but, just sayin'. This McGlinn, did he do a big lot of these things on record, or can I check it mostly all out without having to expend a lot of money and not too much psychic energy into "Broadway" and all that? Because I'll be honest with you, that All The Things You Are, that one right there, that's kind of a mindfuck for me, in the good way. Not the trappings, which would have made me run like hell up until, maybe...last night(?) - and still would if that was all there was there, but just how that song gets stretched out (I know, it's really been "compressed" over the years, but I'm talking about how my ears hear it now) from a standard into a fucking OPUS. Everybody's altered the chages and all that over the years, and that's excellent (sometimes), but this ain't about changes (although I'm gonna run back to my oldest non-jazz fakebook and have another look at some of those changes, the ones that are distinctly non-ii-V in character, I used to think they were just "old fashioned", and in jazz terms, yes, but as compositional tools, hmmm....), this is about composition, a larger form for the song than just AABA. Hell, the melody of the verse runs as a counter-melody, etc., this is no bullshit, this is well-though out exposition, development, etc. All in "popular song" arena, of course, but NOT designed for Hit Appeal or Blowing Vehicle...one integrated whole thing. Beautiful. Jerome Kern...not to be taken lightly, right?

Haven't pulled this almost-NOT-underground Cult Classic out for more than 30 years, and wasn't sure if I'd respond with eye-rolling "oh, it all seemed so EXOTIC tehn", or more of the WTF?!?!?! impressions of back then. Ended up with none of the former and most of the latter, although not so much at the "different-ness" as at the sheer intensity. Does this ever make any of those "Records That Changed The World" lists? Because back in the day, it seemed like those of a certain "experimental" musical bent either had it or were familiar with it. And although The Monkey Chant is kind of a World Must Greatest Hits, the other side, there is some shit in there that had me wondering if a Drum 'N Bass record had come on in the other room or something. THAT stuff I had forgotten about!

Sounds like they pulled the piano sound back and took a bunch of other stuff with it.

I have no idea who John McGlinn was, and the whole thing seems like something I may not be able to do more than tread lightly into, but that one clip fascinated me as far as it being "All The Things You Are" in a way I've never heard it, so...who was he, and what is that?

Another song that had a verse with which I was pretty much totally unfamiliar (but is really the original lyrics to it, and was it really originally staged as a duet?.

I like Homecoming pretty well, myself. If you like the Cobblestone/early Muse sound of that nexus of those supporting players, this fits in as a piece of all that.

Right, I was listening to what I had in hopes of spotting something "underlying" that the RVG might have amplified, not created. No such luck, though.

Just played the Conn, and the only thing I can even possibly think about hearing there is a really good splice, but...if that's what it is, it's a damn good splice. Otherwise, I hear nothing unusual.

James Earl Ray James Earl Jones James Earle

I can accept taht that's what they "portray" it as now, I mean hey, imaging/reimaging/etc, ok, I know, it's only marketing/evolution of image/survival, but I understand it. Still hold up there People Of Today, know your history, the NBC Peacock is one old fucker by now, do not be deceived otherwise! The Coke thing sounded spurious to me too. Truthfully, the Exxon thing is questionable to me, at least as much as anytime having to do with Hidden Masonic Imagery does, which is some, not all, and always maybe. Besides, I got beef enough against Exxon in general with or without any of all that! But back to NBC...there is an amazing (or perhaps not) amount of YouTube content devoted to things like logos, theme musics, those production company blips that are at the endo fo every show, etc. Here's one for NBC that rolls it pretty much all out:

Fun stuff, but this seems like some severely retro-fitted bullshit by somebody somewhere: "hiding"? No way, that thing's been there damn near forever, since NBC/RCA were the driving force behind color tv, the programming driving the sales and vice-versa.. In fact, that peacock was originally accompanied by some pretty....belligerent music! They chilled his ass out, finally, thankfully. More about all this than you'll ever want to know here: http://www.classicthemes.com/50sTVThemes/themePages/nbcLivingColor.html

I was born in 1955 & came to jesus jazz in in 1970, so I can reconcile intellectually/internally/etc all of this 50 Years Later Blue Note Music being made right at the beginning of American Beatlemania and all that was to follow. What I will never be able to process on a personal-interface level is how it was to have been aware at any even semi-serious level of both things happening concurrently and then proceeding accordingly. I mean, in 1964, how could you take Andrew Hill & A Hard Day's Night and look towards a future where both would be held as icons in groups with overlapping memberships, how the hell could you see that day coming in 1964? By the time I got to thinking about it, it was reconcilable, because I was in the fallout of all of it, and the fallout was settling and the dusts gathering together again, as and where they could. But if you were at Ground Zero...that must have been some weird shit to prognosticate, all of it.