JSngry

Anotehr sunny day. Might be time to do some foundational tanning.

Joanne Castle's head movements (and the grimacing smile on that head) to look at the audience/camera always distressed me.

The Chicago Seven The Secaucus Seven The Page 7

I think a celebrity endorsement is in order!

I heard "Big Swing Face" in a porno soundtrack in Vegas, 1981. Laughed my ass off at how surreally perfect the whole thing was. I guess that laughter in a porno theater is not a commonly heard sound, but there are some things in life you learn after the fact.

Those first few HB Columbia sides got beaucoup airplay where I lived, and jazz was kinda "popular" then. Columbia was marketing stuff, in-store, DJs, etc. Those figures sound realistic to me, at least for the first one or two, which also had a bit of "crossover" flavor as far as the music itself (not that that bothered me then or now, in may ways I prefer them to the HB's straight-up bebop, there was more vairiety and texture).

I'll not guarantee "hi quality sound" for it, but when in bootleg mode (and these are not really bootlegs" per se), I tend to not worry about such things nearly as much, sometimes never. Here's the deal - I don't know if there are any better sounding sources out there to be had, and they are remarkable performances. As the song says, it'll have to do, until the real thing comes along.

IIRC, you can find it in one of the two-part "Piano Roundtable" pieces in DownBeat, very early 1970s. It's a four-way between Herbie, Roger Kellaway, Joe Sample & Toshiko. Herbie wasn't really dissing George, not hardcore or anything, he was just questioning if verbatim usage of study patterns was the desired end of things, and he used George as an example. This was about a decade after they played together, so no doubt, Herbie's perception then had probably evolved from where it was in real time. Also, a funny moment in there, Roger Kellaway is jizzing about Messiaen, and finally says to Toshiko something like you GOTTA hear Messiaen, I KNOW that you'll LOVE Messian, just gushing effusively as if oh babybaby let me show you where it's AT, to which Toshiko simply replies, "How do you know that?", which not being in the room, who knows how that was delivered, but when read on paper, is like instant spit take for me, ya' know? About Coleman, though, I think he found his true voice while playing in Elvin's bands, and that what he found during that time, he brought back to more "traditional" repertoire. Just how it strikes me. But if you knw that live Elvin side on Enja, the trio with Wilbur Little (and Hannibal added for one tune), hey, now that's some fully formed George Coleman. Full speed ahead, cap'n!

No idea what's out there, but I have the first two Blakey sets on an old RTE/Europe One 2-fer CD...if that's the one (or has the same material as the one) you're referring to, yeah, if it's there at a good price, carpe diem ASAP. Chuck put me on to those a while back and he was not joking.

Sunshine, 70s, neighbor's got a pool, let's go swimming!

Wayland Flowers Madame Bovary The Bowery Boys

I hope that's because you found another version of he material...or becuase you're broke (not hoping that you're broke, mind you, just that that was the reason)...those are some "smoking dates", as they say in the former vernacular.

The return of hi-fi as furniture. I approve!

You might also enjoy a thing on JMY called Cote Blues, which is recordings from the band's other gigs at the same festival. It's a bootleg, so no links allowed!

Major Bowes Ted Mack Willie Hutch

Yes, GA - Not just that album, but the entire set, much of the 2nd and all of the 3rd disc. I usually enjoy full sets, but in this case, I think the LP is my preferred presentation. Thirty minutes of that particular band at a time is neither too much nor too little, it's just right. As much as I like George Coleman, he had a ceiling that was relatively easily reached (relative to the band as a whole), as did every Miles tenor player after Trane & before Sam Rivers/Wayne, so...it's gonna go where it goes and then stop, if you know what I mean. Again, I love George Coleman, but I think his playing strengthened quite a bit after this time in terms of facility and structure alike (his is very much a "change-running" style, and as he matured, he found more ways to run the changes, not that he was any kind of a slouch here!...but Herbie said it kinda bugged him how George would be playing patterns and shit verbatim out of Slonimsky, so that's the environment of that band, uber-facility was just the starting point, not just enough to know it, but to know it and then grow it), and also think that, important a transitional holder of that chair as he was, his "in between" quality (more open an approach than those who held the chair before him, but no indication that it was ever going to expand past that, he'd deepen his facility over time, but not really his impetus) all but guaranteed his eventual (relatively quick, actually) obsolescence in that particular environment. I also think that the best record he made during these years was Maiden Voyage. This band is to the Wayne era what the Mobley band was to the Trane era, just in the reverse chronology, one going, the other coming. I'd not be without any of it, though, because it's all real life.

Uncle Rebus Rebus Philbin Cletus Awrebus-Awrightus

It's like everybody's forgotten about In Europe or something. I like that one a lot more than either of the Philharmonic Hall albums, individually or collectively. In fact Four & More tends to bore me, relatively speaking...too much of a good thing, perhaps (and definite overexposure due to years of innumerable Tony Wannabees insisting on rocking it on roadtrips...YIKES!). But that In Europe set (and it's companion bootleg), that stuff is fresh there, and just as loose, maybe looser. And it's a longass LP too, over an hour on just two sides, not too much, just right, you get all you came for. Value for your jazz entertainment dollar, and guaranteed - GUARANTEED - high fidelity. I realize I'm in the minority on this, but oh well, hey, too late to turn back now. Submitted for your consideration and all that...better cover, too, especially in mono.

DNC RNC ANC

Schlitzie Mel Famey Walker, Texas Ranger

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