JSngry

Well, hey, this actually worked. They picked up on the second ring, told me it was a known issue discovered about three weeks ago, that repressings of the defective disc are in the pipeline, and what's your mailing information, we'll get that to you as soon as they come in. So - so far, so good.

Mister French Buffy Sainte-Marie Joe D. Grinder

I would no more presume to fully grasp the subtle/subliminal/whatever class implications of a Brit-on-Brit interview such as this as I would the subtle/subliminal/whatever sensory implications of a conversation between Jan Garbarek & Bobo Stenson about what makes for a really good cold-weather jacket.

Yeah, this is pretty amazing footage, in different ways, for different reasons...the first set is totally "local", the band is very "local" (Don plays his ass off anyway), but the glimpse of the house and the crowd....you just don't see much video documentation of jazz-as-purely-social-music (from every angle) to this...blatant of an extent! Then you have the latter two sets, obviously a different scene altogether, more "jazz", not nearly as "social", and Don plays his ass off there too. The thing is this - what made Don Wilkerson (and so many others) who they were was getting plenty of seasoning in both types of environments. I wish there was casual footage like this documenting some of the Dallas clubs of the day...imagine a setting like that first place, some small joint populated by people there for a good time that doesn't involve sitting still and quiet and "listening" to the music, but sure as hell does involve having the music in the air at all times, and if you didn't want that kind of music, you wouldn't be THERE, dig?, only with a Marchel Ivery/Red Garland group...and then in walks James Clay to cheers, whoops, and whistles...and then it's ON,,,that world doesn't exist any more.

Yes, navigating the general opinion without succumbing to the notion that it is the universal opinion can sometimes be a challenge.

A reference to Mr. Freeman's seemingly consistent sartorial savviness, perhaps?

I bought the LP when it came out. I'd get it again if I had to. One of Warne's finest from that period. I'm one of those people who not only likes to have options, but likes to know of them in case I should decide to exercise them.

Not cheap, but apparently negotiable: http://www.ebay.com/itm/WARNE-MARSH-WARNE-OUT-INTERPLAY-RECORDS-Interplay-Records-IP-7709-Mint-/321280734888?pt=Music_on_Vinyl&hash=item4acdd2f6a8

Ursula Rucker could take this and rip it WIDE open.

Loretta Martin Lola Zbigniew Namyslowski

EXTRA RICH AND VERY DIFFERENT FROM THE THIN WHITE DICK YOU BEEN GETTIN WATERY SHAMPOO (said over ejaculatory and phallic images aplenty) Maybe the revolution was televised after all...

I have the Basel disc, but my recollection is that Joe isn't miked all that well. The Jazz Wave Ltd. thing otoh....you can wreck a car if you're not careful, driving with that thing on. I'm telling you!

Yes, no doubt. And I don't know about you, but that just really...really opens up the "landscape" for me as far as hearing all that music as not being unrelated and/or randomly occurring unrelated events. At some point, all the dots will connect, and the last piece of the puzzle will be put into place. Until then, hey...dot by dot, piece by piece...

HOW DOES IT FEEL TO DRENCH YOURSELF IN LUXURY, PIG????

The phone # is published in the booklet...I'm thinking of just calling them up and asking hey dudes, whaazup with THIS? I got free long distance.

Yes, and the generation that came after as well...who woulda thunk it would all end up in/with Toto? Not that there's anything wrong with that... But really....follow those player backwards, and the trails eventually end up at Don Ellis in some form or fashion, directly or indirectly...so when looking at the late-60s/very early 70s albums of John Klemmer, Howard Roberts, etc, Don Ellis becomes at least as much a focal point/incubator for something that wouldn't include him, but was nevertheless fostered by his....spirit? Philosophy? Not really sure, but people talk about Stan Kenton being a similar figure in the late 40s/early 50s, but if you ask me, Joni Mitchell matters a lot more than, say, Howard Rumsey. If you ask me, that is. And the Jazz Crusaders playing "Elanor Rigby" and then becoming jsut The Crusaders, that begins to look like less a move made for commercial survival and instead people doing what feels right to them for reason both commercial and social. That's the difference between "pop music" and Pop Music!

The funny thing is that so many women do stay beautiful their whole life. It's the eyes (and minds) of men that too often can't keep up.

The LA Express (at that time...)...trace it all the way backward into the late-60s Don Ellis scene, but do so by making a left when you get to The Jazz Crusaders turning into The Crusaders and all that went into that, immediately before and after. None of this music happened in a vacuum or at random, ya' know? It all happened in L.A., and it all involved a lot of naturally willful cross-pollination. Although it did happen away from the eyes and ears of the general public. On the one hand, Linda Ronstadt's scene virtually defined "L.A. Rock" for the decade, Joni proved that the if there is a front, there must be a back. That's why, I think, Shadows & Light has a different flavor - not just is it more "overtly jazz", it's also overtly "less L.A."...perhaps even more defiant than the material it entails in that regard.

Wow, the American rock press crucified her for Hissing...it's still thought of here (the Rolling Stone review basically told her to fuck off and die) as one of those "self-indulgent career suicide" records like Pet Sounds or Journey Through The Secret Life Of Plants...of course, Brian went crazy, and Stevie retooled to be Somewhat Kinder & Gentler (Hotter Than July was a great record, but very much a mea culpa, and after that....), but Joni just said fuck it and forged ahead...although she did eventually get dropped (aka "contract not renewed") by the label a few years later (iirc, at roughly the same time the same thing happened to Van Morrison, who was just...getting weird, period. Not really better, just weird, although on different days, my opinion will differ as to how much and how bad that really was). She was on her way to being a bona-fide pop star, settled for being a high-visibility cult figure, and still made nice records after having to get a new deal (and she still go Wayne Shorter in on those Geffen records, which I still need to revisit, they didn't really grab me at the time, but some of that might have been me). In the now-unfashionable parlance of a time done passed, Joni Mitchell had balls. Bless her for that.

Anybody else running into a defective (skipping, popping, then stopping) track 5 on Disc 2 (Black Magic Man)?

This cadence, these inflections, this sounds like some vintage Nationalist poetry...only it's a freakin' shampoo commercial. Go figure that. Did Jayne Cortez used to direct commercials? Or just what, exactly? Here for all these years I thought I was empathetic. Turns out I just needed to wash my hair? To live is to be disappointed? Or to be fooled? Not necessarily in that order, if indeed, any?

But seriously...the McDonalds/Classical thing was publicized, big time, in the local media. It was like McDonald's was Taking A Stand, Dallas, Save America, and all that. So enjoy Horace Silver with the Filet O'Fish. It's all SAFE now.

Hissing wasn't a transition nearly as much as it was a wholesale destruction. Deep, dark, meaty music but...so long commercial success, right? It left a big pile of ashes for something to rise up from. Thankfully, What arose was Hejira, and not some commercial begging sorry, I'll not do that again, I promise, mea culpa. Too many pop people get a smackdown like that and are cowed forevermore. Not Joni. Oh HELL no not Joni.

"Second Race"! That's a snaky chart, "just" a blues. And Joe was just the man to take that spot (no dis to Seldon Powell). Between this and the "Don't Get Sassy" that's on the Jazz Wave Ltd. side...hey.