JSngry

12" 45s for the disco crowd DJs, yes, that would make sense.

Larry Hart Larry Brothers My Other Brother Darryl

Understand the collective distrust of tripe, but don't share it...when it comes to gelatinous flavor delivery systems, it's a darn good'un, at least for my tastes. It and tendon. Another worst thing for me...Chester's Fried Chicken in Hillsboro, Texas. Chicken so bad I couldn't give it away to the vanload of blues musicians with whom I was riding. Learned lesson - if something sucks so bad you can't wait to be shut of it, DON'T proclaim to all within earshot that this is the nastiest tasting shit you ever ate. Odds of successful transfer are significantly reduced when you say that, especially repeatedly.

My breakdowns are usually quite calm, it's the normalcy where I get nervous, and don't break a leg, even if you do have insurance, that's not a road down which I would think you'd like to go, but yes, do have a great show, and you will be recording, if only for yourself, right?

But...what if we are men? Can we still be Devo? Or do we have to choose? Is that covered by my insurance? Can 15 minutes save me 15% (or more)? In thiis case, not sure if I understand the answer? So I will stand pat and leave the questions to those who know what they are.

The Japanese CD of the single album is $13.99 @ da' Bastids: http://www.dustygroove.com/item/683898 Also, Amazon has some used copies of that 3-CD set for under $30.00, Picked this up, and like Oliver's work well enough, some good moments, but did not feel Lorraine Ellison at all. Her voice hits my ears as an improbable combination of Morganna King (who I don't care for, to put it mildly) & Sylvester (who I do dig, but would not want to hear do these songs...probably). What I would recommend looking for is an Irene Reid side on Verve called Room For One More. It's far from a perfect record, too many ill-conceived "pop" moments of various ilks, but about half of it is really, really strong "blues ballads", to which both Reid & Nelson respond to with the highest desirable degree of sympathy. To compare the two singers, it sounds to me as if Ellison just has wobbly pitch, whereas Reid sounds as if she's got Jimmy Scott pitch (not unlike Nancy Wilson), and that's a world of difference afaic! Presented for your approval: The album's a little over half like that, so be ready for the other little less than half to be nowhere near that good.

No, these are live people, still! But seriously:

Still on, hopefully? http://epistrophyarts.tumblr.com/post/77376055045/bobby-bradford-4-march-23-victory-grill-stay Yes?

I'm like, well then, you just are, but really, shouldn't you already know that you are? And what if you're not, what's your plan then? Not sure if I understand the question?

I dare them to release new 78s. i dare them.

The Kirby Stone Four Kirby Puckett The Union Gap

More like would my dog buy a translator to know what I was thinking, no he wouldn't, but I would buy him one if he asked for it, which he never has. We tight like that.

Some of those albums are better than others.

You'll have to find somebody else to disagree with you on that one!.

Canned whale meat (in gravy), purchased at a health food store ca. 1970. Good god was that some nasty shit.

http://www.latimes.com/obituaries/la-mew-jim-lange-20140228,0,549500.story#axzz2uZaVIbWI http://www.youtube.com/watch?v=-tCE61PPKzs http://www.youtube.com/watch?v=guRCKB7r_LA

Maybe 250 people or so, almost all students, which was....weird. Not in nature, because geez, 5 PM on a Tuesday in Denton, who else is gonna show up? But weird in that I got the impression that most of them were at best marginally familiar with Gil Evans, which on the one hand, I understand that, time passes by and old keeps getting older and you can't really expect people to be born into a world already knowing everything that has happened and still figure out what they're doing right now. I get that. But on the other hand, I'm sitting here at times shivering, and times moistening up in the eyes, and quite frequently trying very hard to not bust out LOL-ing at how freaking BEAUTIFUL this whole thing is, not just the music, but also the opportunity, and when I look around, it seems like I'm in an ocean of kids dutifully listening to a history lecture, like ok, this is just one more thing we're supposed to hear, yeah it's really great, ok, gotta get back to studying now. Just more Great Music for us. To put it into a little bit of personal perspective, when I was at NT, the only Gil Evans charts in the library were two Kendor things, "Maids Of Cadiz" & "Theme" aka "La Nevada" both arranged by Gii, but neither was really what was on the record either (well, "Theme", maybe), they were published for "general use", such as it was. But all the rest of it was not there to be played. Not hidden or suppressed, just not there, period. Some people, including myself, attempted transcriptions, but between the inner voices and the instrumentation, hey good luck on that. Bob Belden probably got it right, but if he did, he kept it to himself for later usage in his own work (Bob got a LOT of things right like that, Bob Belden knew how to LEARN, dig?), but otherwise, no such luck. On top of that, Gil was still alive then, and making all these records full of synthy colors and free-ish solos, and HUH? said "the program", too much individuality to be taught, too idiosyncratic to pursue, too weird to be sanctioned, just...move on and let him and his do that thing. And now, decades later, here's the opportunity to just show up and hear the shit played live and well, parts straight from the original manuscripts, just show up and there it is. The band surely had to bust ass (and to great return), but the audience...part of me wanted to jump up and scream DO YOU KNOW JUST HOW BLESSED, HOW MOTHERFUCKING BLESSED, YOU ARE TO HAVE ANY OF THIS, LIKE THIS, this is not a great soloist or small-ish group that has been heard everywhere but here until now, this is orchestral music - great orchestral music - that has really not been heard live too much anywhere in the world except on records, not even stuff that was once heard everywhere like Ellington or Henderson, this shit has not really been heard live ever, period, but no, that's not a right response, even though it is. People are born when they are born and the world they come into is not what they made, so in a sense, progress and the satisfaction therein is just as appropriate, perhaps moreso. Kids, this is time's gift to you. But dig, Truesdell talked about "New Rhumba" and asked (in true adult talking to child manner, which is what it was, really) anybody here familiar with Ahmad Jamal? And.....ooooohhhh...apparently not, not really...so, how do you handle that as an grownass adult old fucker? And how about hellyeah I jumped up for a standing O after the last note and I was like, one of 5-6 people doing so, and all of them were old folks too, except for the ones that were gathering backpacks to book out of there. I don't want to think about that...but I will never not want to think about how "Blues For Pablo" is still making me tear up remembering how it sounded. So I'll go with that, Alex, I'll go with that.

Jeez, how much more did they have in the vaults to expand it that much?

I wanna give the tuba player props. Like I said earlier, I was told they picked him out of the classical department just to do this gig. Per the program, the cat's name is Austin Crumrine, and that's all I can tell you. But if he ever does a Google search for his own name, he'll get a hit here, eventually, so hey dude, great job. Star of the show, afaic.

I continue to be haunted (literally...I've been stopping randomly day and night recalling certain passages, how alive they were) by the sound of those Gil Evans arrangements as played live...it's like, ok, I've heard the music on record for decades, and have formed a rich, vivid mental picture of it in a virtual 3D type of imaginary sound. And then to hear those same sounds in a REAL 3-D environment, coming out of instruments on a stage and not out of speakers "placed" somewhere...it's an upsetting experience, upsetting in a good way, but not easily recovered from, at least not for me. That writing has some kind of mojo, some kind of serious mojo...I told Brenda last night, that if I could, I would go out to hear that music played 7 nights a week, faithfully, and she could come along whenever she wanted, but I would go with her or without her. She understood, I think/hope. And then I realized that that was not a possibility even when Gil was alive, never mind now, and..geez, that just sucks. The 1:00 gets kudos, not for being a badass college jazz orchestra in the forefront of today's jazz education whirlwind (or any other such kind of bullshit), just for having the humility and skill set to serve as honest deliverers of some of the most stimulating/evocative/deep/whatever music ever scored for an ensemble of any kind in any idiom. As well, to Ryan Truesdell, for treating this music as the orchestral music it is, and preparing the band according and appropriately. If Ryan Truesdell comes to anywhere within non-fatal distance of where you live to do a Gil Evans Project presentation, and if you have any even modest sense of enjoyment for Gil Evans music, do what you have to do to get there. Records, no matter how well recorded/played back, do not give you the full sense of the reality of this music. I almost wish I hadn't gone, now it's like I've had a taste of it, and where to go for the next one? Where?

I'm afraid of too much sleep...if that happens, then I won't be able to get to sleep.

Normcore

Went to a Rangers/White Sox spring training game in Sarasota with a neighbor (this was while we were living in Tampa) and we both took our kids along. Sat on the second row about 2/3 up the first base line. Saw what looked like it was gonna be a medium tempo foul coming our way, told the kids to look out, made sure they ducked, and all of a sudden we heard the sizzle followed by the THWACK, the thing hit an empty seat about 15 feet away from us all and I swear to god, if it had hit one of those kids, something really not good would have resulted. Ever since then, I've been like, ok, I don't take my glove or else I pay attention like primed hell during every pitch, one or the other, but not both. Or even better yet, I pay the extra bucks for the seats behind home plate and behind the net.

The "always take your glove to the ballpark" saying originated here with Tom Grieve's repeated admonition to Rangers fans after a series of near (and not-so-near) misses of facesplat of wives, girlfriends, and children of some hard, hot fouls into the box seats. (yeah, people will take little kids, up to and including infants, to a ballgame and sit right in the line of fire, the third base side in particular. No net, no screen, and there's a little three-year-old on the second row whose daddy thinks that he can nab a screamer with his bare hand. Good luck, kid, hope your Dad's got good ER and/or burial coverage!) It's also since taken on a personal usage on gigs where you're playing with a singer who does not, shall we say, have neither a need nor an inclination to follow anything remotely resembling the conventional form of a song. Hit the bridge two bars early and the band catches it? That's why you always take your glove to the ballpark, player, because crazy shit can and will happen and you can keep from getting hurt! So, if you're talking about taking a glove out to the upper deck or to sit behind the outfield wall, yeah, that's kinda geeky. But if you're talking about protecting your loved ones (or even yourself) from some screamng batshit crazy imminent danger, and/or for being ready for any damn thing to happen at any given moment, then put me down as Pro-Pansy all the way!