JSngry

When did home camcorders become commonish? Mid-80s? Not late 70s, so let's start at the mid-80s. Also, that first clip, I was wondering where the drummer with good time but zero variety was on that stage, then it hit me - it was a drum loop! I don't think that would have been allowed in the late 70s, so money was already squeezing stuff out. Otherwise, there would have been a drummer crowded in somewhere. That would have been sometimes in the early mid-80s. Then again, I don't know, this was Houston. Different scene there than here. Not totally, but...some.

These two songs back to back...I think I might be stunned. and yeah, just fast-forward the hell through "People". I hate that song. Pour me a bottles of Padre Wine, please.

Looks like the late-70s thru maybe the middle 80s? That would fit, roughly,with the progression of the three venues.

Steve Novosel Steve Little Steve Ellington

Zyloware Red Norvo Norv Turner

Interesting to imagine what would have happened if Miles had gone with this complex composition route in his electric period rather than the long, minimalist vamps. I know what you mean, but I don't think it's as simple as that...check this out: http://www.plosin.com/MilesAhead/CodeMD.html I sorta scoffed when I first read this information (in a bootleg's liner notes, actually, albeit without the larger overview provided here...but with specific references to the music on the recording itself), sounded like retro-fitting to me, but have come around with the hearing of more and more bootlegs. The markers are definitely there, and the effect is one or composition, rather large-scale, actually...not unlike how sonny would play these longass sets that would ramble from one tune into another but ultimately make set into a suite. In Miles' case, it was the other way around, he'd make a suite into a set.

Mother Maybelle Carter Jefferson The Wright Brothers

Stanley Turrentine Trevor Lawrence Marvin Gaye

Haven't done any research about how it pertains to this release, but Black Beauty was just one night (and released pretty much unedited,iirc), and other nights were recorded as well (and have circulated). I don't think it would make sense to include anything already officially issued on a "Bootleg" series...which of course doesn't mean they won't do it. But hold out hope, maybe?

Or even "It's About That Time"...until the box came out, I would never have imagined that that thing had such a structure to it, never mind an actual head...pretty radical revelation, imo.

And truthfully, Sugar is my least favorite of the CTIs. The title cut is a gem, of course, and was a jazz-radio & juke-box hit like nobody's business, a tune that still gets played in all kinds of spaces and all kinds of places, but the rest of the album sounds a little hollow to me. But then here comes Salt Song, and then Don't Mess With Mister T, and hey, there's your Stanley Turrentine zeitgeist, right there with those two, I think. And then he went to Fantasy...and whatever zeitgeist that might have been was largely attained away from mine (although in retrospect, etc.). Going from Queen Of The Organ *agreed, a must-have!), The Scott/Turrentine dates on Prestige seem just a little bit less-than-perfect to me, but the other Impulse! recordings don't...there's versions of "Time After Time" & "The Lamp Is Low" to be had there that could be labeled "definitive" without any disagreement from me. Nothing like that on Prestige, and I wonder why. Anyway, if the hippest hip and/ot the swingest swing is that which is so merely by being itself, then here we go... http://www.youtube.com/watch?v=Z7pVRzbawX8 He didn't need to wear that sweater. But he did. Kudos!

Have never seen these before...outer cover, yes, but not these:

The Arkansas Traveller The Girl With The Red Dress On The Peanut Gallery

Big Chief Dewey Terry Big Boy Pete

Actually, yes. This stuff has been around in private circulation. I'd still do the right thing, but that price eliminates any preliminary internal debate that might have arisen.

Oh, believe me, once the conversations in the room shifted away from the music (which took a while, and never really stopped), the next topic of conversation was WTF is this on the cover?

Harold Jones Rufus "Speedy" Jones Jo Jones

For many, this material has been a Quest of/in some sort or fashion since it was first released in LP form...I remember the first guy I know who had the LPs, he got them from a store in Houston and paid something like 50-60 bucks for both,,,even more money then than it is now..and then, hell, pre-internet, rack-jobbers didn't bother with that type of thing. Peaches only handled European imports, and mail-order was a gamble, at least back in those days. I had a few shaky transactions when first experimenting that left me wary of it, especially for expensive/exotic stuff like that. But - summer of 1980, I was touring America with a 3rd-tier "hotel show band" and we were booked for a few weeks in Des Plaines. So, first opportunity, Jazz Record Mart. First thing when walked in - DO YOU HAVE PLUGGED NICKEL???? No, they were sold out. But don't despair, they order a handful (five, iirc?) every week, and if you get here by such-and-such a time on whatever-day-it-was, you can get yours then. So, yeah, made it there, got my copies, and felt like freakin' Cortez The Conqueror or some such. Not at all relevant to the immediate discussion, I know, but the spell that this material has had, and continues to have, over several generations continues to interest me. This band never even made a record like these (not standard material) and the records they did make used to be not at all popular past the immediate cult-fanbase, and the PN material itself wasn't released until a while later, and then for quite a while, only in Japan. The LPs didn't even hit America until 1982, with a little extra in 1987. The the Japan box, and then - after at least a years worth of false alarms, finally the American box. You would think that music so stealth,stealth from the money it got made through, really, today, would not be so fundamentally upheaving. But now, hey, you say "Plugged Nickel", as a description of an approach or as a group of recordings, everybody knows what you mean, instantly. People have condensed & codified the spontaneous genius of those recording and made it "the new mainstream", which, think about it, all based on stuff that it took most people almost 15-20 years after the fact to hear. And it all started with these:

Nat Turner Nate Newton NATEC INTERNATIONAL, INC

Anybody ever heard this? Or Symphony Sid doing any Latin broadcasts? I've hear of them, but have never actually heard any of them. Just wondering. http://www.dustygroove.com/item/49992

That might actually work.

Yeah, THAT Sid McCoy. DRAGNET 1969 is some of the most fascinating television I've ever seen. Horrible, in almost every way, but the message was more or less summed up in the episode before this one (which had Jack Sheldon in it) as Everybody's Wrong And There Are No Answers. I paraphrase, but only slightly! And by "everybody", they mean everybody, cops and squares too. Nothing's better than true freedom, but there is no true freedom. The guy's a right-winger and a leftist all at the same time. I swear, if it was anything but DRAGNET 1969 you'd be thinking it was Liberal Propaganda. But it is DRAGNET 1969. It is. Jack Webb must've been one complicated motherfucker by this time, that's all I can say. All B&W Dragnets, all the DRAGNET 1967 & DRAGNET 1968, ok, that's one thing, but you get to DRAGNET 1969 and it's some kind of existential trainwreck. This shit is a cry for help from somebody who thinks there's no help to be had. But anyway - SID MCCOY!!!!!

One's enough for me, but WHOA! at that price! Much appreciated, these heads-ups.

There was a period in my dorm where we took the "green" in "Green Acres" to heart...and yes, the pure dada genius was more than a little apparent under those conditions! Also, the same guy who did that one, Paul Henning, also did The Beverley Hillbillies. I read somewhere where that show actually had satiric social commentary as one of its intents. So all that wacked out Miss Drysdale and Dash Riprock stuff wasn't just stoopid wackoness. It was in there, like that, on purpose! But then we come to Petticoat Junction, which is neither fish-nor-fowl, although a little bit of each. But you gotta love a town called Hooterville! And believe it or not, one of my college buddies was the son of of some relatively prominent agent, and he grew up in a neighborhood where Frank Cady was his neighbor. He said that Cady was a normal guy who mowed his own lawn, handed out trick-or-treat candy, just a normal neighbor kind of guy. I was like, wow, if I walked outside and saw Sam Drucker mowing his grass, I'd go back in for another bong hit and try again...or maybe not!

Oh, I agree it seemed a little...aggressive, for whatever reason. But how much of it was simple Brit media-prickness, how much of it was Brit Class-Consciousness-Prodding/Snootiness, and how much of it might have been some of each and/or neither, well, I can't answer that. Some things you can only really figure when it's what you know from first-hand experience. On a more certain note, though, I do dig this Volume 2. Very much!