JSngry

I learned early on that zippers opened quicker than buttons, and that has been an overriding consideration ever since, albeit for reasons that have also evolved from 1980 through 2014.

Jim Umbricht Jack Brickhouse Lionel Richie

I've never stolen - or even tried to steal - records from a radio station, but I have talked my way into being allowed to walk out with some on more than one occasion, more than a few (records and stations), actually, so, there with the grace of god, I suppose.

I think Sonny, even before Coltrane's death, realized that he had his own problems/barriers/what have you, that they were not nor would be Coltrane's problems/barriers/what have you, and that the best way for him to deal with his problems/barriers/what have you were to just keep playing and to keep living long enough to do so. I'm sure it seemed simple at the time, and it still does in theory, but I think we all know that that is in no way a simple proposition. Apart from that, the music found a way to move on past its own problems/barriers/what have you, at first by actually doing so, and then by carpet-bombing the world with do-overs, so we'd never have to be bothered by all that again. And yet, still (nothing lasts forever), Sonny Rollins. When he is dead...there will be no do-over for any of that. I'll shed some whole lots of tears, but not because Sonny Rollins ever stopped being Sonny Rollins. He might have stopped making earth-shattering records, but that's just a marketing concern.

I understand you are in some marketing group now and I love new words. WTF does imerpatizations mean? It means that if I want it before the collectors start selling it, it's imerpative to buy it now! ...geez, now I gotta make up a word to cover my piss-porr typing. this marketing, it's a killer if you ain't already dead...

Ironic? Maybe just a little?

Well hell, I didn't want to buy the Herman & Jazz Crusaders right now, still building the bank back up after Christmas, but market imerpatizations have prevailed, I guess.

I really like the one with Ricky Ford. I know earlier I said Rene McLean, but I was wrong, it's the one with Ricky Ford. That one is just gonzo.

I know this isn't jazz, but... http://www.youtube.com/watch?v=P5bVvnMsbOA http://www.youtube.com/watch?v=8PgkrSp8lC0

Bugs Bower Bugz In The Attic Daz-I-Kue

CD Japan: http://www.cdjapan.co.jp/detailview.html?KEY=TOCJ-95017 http://www.cdjapan.co.jp/detailview.html?KEY=TOCJ-95018

Hey, I don't mind being alone, even for extended periods, nor to be "included". I'm just not temperamentally built to live in either place by any means necessary unless there's a need at stake one way or the other. If there was a need for Turrentine to not make a record like Salt Song, I can't find it. And as long as he did it, I'm delighted that it got made so well. Not all of them were. As for me. I'm going to a rehearsal to see if I can get this new tune I wrote to be played like Lester Bowie playing a Burt Bacharach tune without either input being at all obvious (child of the '70s, too late to unlearn any reasons why to not think like that when the thoughts arise!). If it works, at some point, hell yeah, I'll market it. Who wouldn't? But that's gonna be a really, really big "if"...

I do so with full awareness of what I'm saying, but...the best Turrentine records to me are Salt Song & Don't Mess With Mister T. Not the best "jazz" or the best "tenor playing", just the best records, presentations. They're pretty much the ultimate manifestation of what CTI was meant to do, imo, those two and Sunflower. Some others came close, but those...you have to be really, really anti-whatever it is that "that" is to not hear Turrentine on those records and enjoy it some kind of level. No other prerequisites required. Apart from those, my long-term fave is probably Hustlin', not the least because of the interplay in the comping between Shirley Scott & Kenny Burrell. When the background is as involving as the foreground and the foreground is as good as what comes out here, hey, that's a good jazz record, period. Also, the various sessions with Duke Pearson (under both T's, & Pearson's name) produce consistently outstanding results. That was a winning combination. Don't overllok his work with Max Roach, either. His personality is not as direct as it would become, but still, an unmistakeable sound and conception. But really, Turrentine never sounded bad, imo. The settings vary widely, to say the least, but the man himself always sounded like he meant whatever he was doing at the time.

All I have of Shadows & Light is the the VHS. Is there anything on the tape not on the album, or vice-versa? It makes for a good performance documentary, at least.

Me, too -- and I once felt that Rollins probably was the most important living artist in any field. I stopped following him around the same time. Then, at some point, I came back. I'm not enamored of everything he's done since the 1970s (and I haven't heard everything), but some of it is stunning - and some of the rest is pretty good. I'm glad I came back. But I understand - kind of. We're about the same age, I think, and therefore had the advantage/curse/whatever of not even knowing who Sonny Rollins was until the 70s. Same thing with Wayne Shorter. In six month's time I had discovered Wayne Shorter through Blakey, Miles, and Weather Report. At the time, it all sounded like the same guy, just in different places. I've never been able to "unlearn" that, even though now I can llsten with a broader chronology reference in place and see, oh yeah. But still... Same thing with Sonny, I think I heard Next Album and What's New and the Period album and the Prestige side w/Max & Clifford all in the space of about a year. Again, it sounded like the same guy just in a lot of different places. Moreso than Wayne, but I was just a kid, so grown ups changing as they got older seemed normal, and was something I envied about grown-ups, the freedom they had to be grown-ups and change along the way, to just do whatever they wanted to do. Kids, we had to "rebel". Them grown-ups, they could just change. It seemed so simple then!

No, I didn't mean anything like that, just wondered if anybody was feeling a vibe or anything, not so much from anybody in particular, just, like in general, just because. I don't see how you could know where you were, especially if it was your first time, and less than a decade after, and not feel something for at least a moment. Not necessarily something "overwhelming", but something, ya' know?

My over/under on Sonny Rollins showing up was 24 hours, and I picked under. I lose!

Just noticed Stan Levy playing matched grip...interesting...

We're supposed to be above 20 all night, but it's been colder during the day these last few than it was during the December ice storm when we lost power and stuff. And this morning, they were talking about rolling blackouts throughout the state because of the consumption rates. Didn't come to pass, but as a responsible consumer (thermostat stays below 70 all winter, and fleece wear is my friend) I began to get livid just a little. I mean, c'mon grid, grow the fuck up!

501

I probably knew this at one point, but...why wasn't Bob Gioga on that tour? He was still with the band stateside for a little while after, no? Or was he off by then?

So everybody was "over it" by then? That seems hard to believe, maybe? Not musician to musician, but as civilians. Then again, maybe Berlin was already a regular stop for American jazz groups by 1953 and everybody was "over it." by then, moving on to the Cold War. I honestly don't know. No matter...what is Lee thinking here? Or anybody here?

Eek-a-Mouse Sheik Of Araby Bleek Gilliam

I'd buy it just for the Elmer Hope session.

Yes, those are the changes. Just wondering...is there documentation about how the Jewish members of Kenton's band felt about playing Berlin in 1953? But on a more pleasant note...yeah, Lee! That guy....yeah.