JSngry

Old rockstar people should not be photographed (especially if they pose for it) unless they are still currently popular as something besides a nostalgia question. The world is a sad enough place as it is.

Dude, "Senior" (aka over 55) admission is only &8.00, and it looks like beaucoup seats remain available...I do harbor fear of disappointment (or even rage, I've been known to have my rage stirred by events in Denton over the years...) at musical lies being told , but then again, those times are over, most of the guys are dead who can provide instant in-the-flesh rebuttal, and sometimes you just need to get out of the house and hear some good scores played decently enough. Hell, many symphony orchestras charge hundreds of dollars for that, this is just eight! And oh yes, the Truesdell album is a definite winner, what it lacks in "feel" (which is not all that much, really) it more than makes up for in being perhaps/probably the most clearly detailed recording of Gil Evans music I've ever heard. I don't have all that good a stereo, and I was just breathstruck by how much detail got captured. You really can hear every little thing, every little thing. And there are many!

Oh, I'm an alumni, even played in some of those bands, and still have some strong dislikes along those lines. But...I'm still contemplating attendance, just to hear the writing in person. Truesdell's own album showed (imo) that if you play the parts well enough, the writing stands on its own, quite apart from feel (and really, abandon hope, all ye who enter here in hopes of anybody getting a big band to feel like it used to, especially on Gil's stuff...hell even his last bands didn't try to go there!). I had some reservations after the first few listens to Truesdell's album, but finally got over them...those charts are just amazing on their own, just play the parts well (no small feat, that, especially in terms of balance) and they speak, no, SING. Anything else is gravy. I still have reservation, but it's such good writing, and the one thing you can count on with the 1:00 is that parts will be played well. I'm looking at it from that standpoint, Not expecting gravy, just some really choice meat. But 5:00 PM Tuesday is one of the most WTF? times for something like this I've ever run across.

Bill Harmsen Bill Hardman Bill, Just Plain Bill

Feb 25, UNT - The Music of Gil Evans with Ryan Truesdell http://jazz.unt.edu/oneoclock/music-gil-evans-ryan-truesdell Mixed emotions, to put it mildly (especially about a 5 PM start time?!?!?!?!), but if they should happen to do "The Barbara Song"...hmmm....

Wow...I had heard this a few times over the years, but never really knew who it was. Powerful stuff. Tryiing to think of the Inez Andrews record that begins ith her talking about the young man in Vietnam who wrote his mother...that one and this one capture much the same vibe, really.

So, dude, Cornbread, or Charisma? For Lee, that is. I'll take "Our Man Higgins" for the block. But consider - Cornbread & Dippin' = orange BN covers FTW, not just of the game but of life. And hello, as if to realize and/or recognize...

Hell, I'm checking out Mel Powell, might as well check out Vernon Duke as well. M6007 has a performance by Donald Christlieb (Yeah, Pete's dad, I know), who I've heard before, an outstanding bassoonist. eBay turned up a $10.00 price for an allegedly "near mint" LP, we'll see about all of that, vinyl and music. But I know that it'll have some outstanding bassoon playing on it, so hey. The other Contemporary side...just found one mention of it in a retail forum, and the price was, like, $54.00...definitely not feeling the need to investigate that. Especially since there's some other recordings of his (Duke's) works available on Amazon for less than that combined. I'm getting all of it, CDs & LP for under that. A fool and his money, perhaps, we'll see.

So, what is Duke's material all about? Should it even be considered in the same...thought as Stravinsky, even in passing? Vernon Duke as "classical composer" is all new to me, but quick research shows that remedying that should be considered, no?

Scanned from the inner sleeve - not complete (I remember a Toch Piano Concerto). You should read Steuermann's wiki bio and try to find his Schoenberg lp. Will look at that, thanks. What do we get with the Vernon Duke stuff?

So, stockroom! Did Contemporary do a "classical" "series" for a little bit, or was this a one-off, more or less?

You're preaching to the choir on this one! First live jazz I ever heard was Basie, December 1970, in a theater, Shreveport, La. Solo mikes only (plus that feed of Freddie Green that the bass player got), and, yeah, visceral does not begin to describe it. The air moved was more than some, I'll put it that way. Then the years borught about the taile end of Kenton, Hrrman, Rich, Jones-Lewis (minus Jones, alas), all in the flesh,m and all using sol,o mikes only. Today's lab/rehearsal/etc bands do a good (sometimes/enough) job of getting blend and such, but projection, not so much. It's a whole 'nother world out there now, and ideals are different. Not necessarily for the better, or for the worse, but definitely different. People form their concepts of tone and blend (and even/especially, projection )with miking in mind so much more these days than they used to. On a grumpy day, I'll judge, but today, I'll just note the difference, and advise that anybody who has the opportunity to see an honest to god for real big band these days should do it before they blink.

What's the deal with that one, especially (but not only) relative to the label? Surely not recorded in the stockroom?!?!?!?

Henry The Horse Wayne King Johann Strauss

Professional designers are able to stay professional for a reason!

Dots to be connected between this: http://officenaps.com/garage-bands/the-plum-beach-incident-dave-yarnell/ & Glad-Hamp Records, skills to do so not to be found hear, I fear. Or, from there to here http://officenaps.com/nov_15_2010/plumbeachincident_prettything.mp3 Music business is not easily explained at all times.

The album is Miles In St. Louis, three cuts recorded at The Jazz Villa in 1963. Good stuff, mighty good.

Yes, it is that, and with just a few tasty semi-subliminal extras added, like Ray Brown/Shelly Manne, this is the Way Out West rhythm section, keep in mind! Not that that will always matter, they were together a lot in a lot of places, but here, I think it's fair to hear that and consider. Also, tuba and french horns, a littler Thornhillian texture-ism, and hear the rich passing-but-hanging clouds-y dissonances they offer to serve. Just when the ear starts to hear the clashes, those chords move on to something a little more normal (but still "modern"). Once again, the inner voices are telling one story, the top voices another. Infiltration indeed. It also strikes me that the flutes are not nearly as in tune for the unisons as they could have been, but that might have just been a time/budget issue. Or it might have been a conductor's choice, to not worry about that particular detail, for whatever reason (there would be many options there). So yes, on the one hand, light, breezy, easy, and on the other hand, just a little more for the ear and/or mind than one would be led to believe by the overall nature of the piece.

Assuming that this is a generally known item, yes?

Not that so much as he went to where he could make some serious money doing what he did. "Infiltrating" more than "surrendering".

Side Two, yes, much mojo indeed. Have you given The Sixth Sense time to work its magic?

New Season of House Of Cards, picking right back up where Season One left off, not missing a beat. Apparently we're not the only ones watching, as the Netflix stream for this one has become increasingly spotty. We've gotten through the first three episodes, will come back in the morning. In the meantime, Adam 12 plays straight through, so, see the man, y'all, see the man.

Van Lingle Mungo Lingerie Model Elvis Costello

The Swing Doctor The Metronome All Stars Pulsey The Pulse Robot