JSngry

There's some JATP thing where a "Lester Leaps In"-ish riff is set against a blues form, and there's some momentary ambiguity as a result. So, at some level it would be an "insightful" question, but that's a level far beyond not really getting the fundamental difference. It's like asking if a tree is an egg, well, do you know the difference between a pine cone and a chicken? No? Then let's not talk about that, ok?

The key point here is that yes, it was a "golden age" for reissues, but the net result is that all that music was put into digital form, which means that unless you have a personal want/need for some kind of an "object" and/or to get a genuinely superb "value added" like you do with Mosaic's documentation and/or a "legit" label's providing original art work or other packing/documentation specialties, you're really not "getting" anything for your money with stuff like this that you couldn't get for free elsewhere. That's perhaps not "ethical", but otoh, I don't know how "ethical" it is to inflict damage to yourself that lessens your ability to spend money on projects/people/whatever that you genuinely want to support, or, for that matter, to free up funds to pursue items such as OOP Mosaics, etc. on the "collector's market". You gotta have a long game if you want to build a collection on not-unlimited funds, ya' know?

Nobody could rock the crisp shirt, big gut, skinny-legged jeans look better than Bum. He will me missed.

As I remember it, yes. It was like kapp was looking for a slightly "jazzier" Roger Williams. But I've not heard it since 1971 or so,but all I remember is SUCK.. Again, what you really want to hear is the Aaron Bell 77 Sunset Strip album. Fake Fake Wext Coast Jazz!

The Satyrs Haters Buck Nasty

Kinda late to the game here...been watching the games! Anyway, full thanks and stipulations firmly in place, Let's go! TRACK ONE - Digging this, especially when listening from the bottom up, and how it all revolves around that. But what is the bottom revolving around? That's the question! Maybe not Africa, but maybe this: http://www.columbia1968.com/james-_plunky_branch/ TRACK TWO - Well now, I remember this one! This guy's best album, imo. For the composer, from this to "Juicy Fruit"...oh my... but have some fun with all this! http://wiki.answers.com/Q/Why_did_the_Romans_change_alkebulan_to_Africa TRACK THREE - Do not know this one at all...whoever the drummer is, they've got my attention with that cymbal work, great touch! Otherwise, nobody really sounds like a "GREAT player" but - they all play together every step of the way. There's a singularity of purpose (and pocket) there that really reaches me. I'd rather hear a group gel like this than a bunch of "GREAT players" just show up and be "GREAT players" and never really define any purpose other than being "GREAT players". Not that there's any slouches here, quite the opposite. But the group vibe is what's reaching me here, and you have to be a great SPIRIT to play for and with the group like this (c.f. Baby Dodds' "Playing For The Benefit Of The Band"). TRACK FOUR - Don't know this one either...sounds like McCoy on piano, but the lyrics remind me of Horace Silver. Not really feeling the singer that much (or the lyrics after the second time around.... That's not John Stubblefield on tenor is it? Or if it's a McCoy Band, Joe Ford? But the longer this goes on, the less it feels like McCoy, no matter how much it might sound like him. So...I'm stumped. Maybe Azar Lawrence once moved to L.A. Or not...There's a tinge of, for lack of a better term, "post-Brecker" rhythmic ya-ya in the tenor that for me takes away a lot of really good other things...Maybe this is Courtney Pine or some other non-U.S. players? Sometimes that's not really relevant to anything, but for this, something's creating a "distance" for me that I'd just as soon not be there...although why, exactly, I couldn't tell you. But something, some very little but palpable thing, is missing, even if a lot of other good stuff is there. TRACK FIVE - OH FUCK YEAH!!! Best cut off one of the best records ever. This record and Unity (and a small handful of others, but especially those two) got me through a very character-defining period of my young-adult life with head held high and integrity intact. One should never forget people, places or things that bless you with that. TRACK SIX - Jean Carne spoiled me for anyone else doing this one. This singer's good enough (although a few moments of pitch-unfortunateness are kinda hard to be undistracted by), but....this is one of those tunes that you either define it on your own terms or else it's best you leave it alone. And the tempo's just a touch too fast for my liking. Maybe that's out of necessity, but still... TRACK SEVEN - Like this one a lot. No idea who it is, but that pianist's left hand is very nice, not at all dissimilar in concept to Earl Hines', even if the vocabulary is different. Putting the style of playing (all those fourths and pentatonics) together with the recording quality narrows it down somewhat, but not enough for me to hazard guess, but this is really there for me in terms of just throwing it all out there and not leaving anything behind. Some folks got more to throw that with than others but it feels the same no matter who does it, at least at some kind of level. These two have a pretty fair amount to throw, and it gets thrown! Part of me wants to say early Chick Corea, but the right hand is just a little looser than was Chick's wont, I'm thinking. TRACK EIGHT - The unmistakeable sound of Harold Vick! And Shirley Scott. What a great record this is! I remember hearing about it for many, many years before actually finding it. A lot of times when that happens, you've either hyped yourself into liking it no matter what, or else over-hyped yourself and it falls flat for no good reason. Not this one, and a big part of that was Harold Vick. His sound is such an organic thing, how it works perfectly with his fingers, sometimes you'll hear a little pause between brain and fingers, just a little micro second, but he's such a true player that he uses his sound, not to hide that, but to go ahead and make that a part of his statement, like, yeah, I needed to think for a second about this, but so what, doesn't everybody? That, and he, like Yusef Lateef, has a deep understanding of how the tenor speaks, what makes it a tenor and not an alto, or a trumpet, or a piano, or a sheet of score paper. No dammit, Harold Vick plays tenor! Listen to how the volume and inflection within his lines are always variating, just like he's talking to you, not reciting, but talking, spontaneously. And ok, Shirley Scott made a lot of records and never had a STAR thing like Jimmy Smith, and that ain't no ways right. And this one is probably the jewel of them all, but even at that, HAROLD VICK! TRACK NINE - Well, there's an "under-rated" player for you, this trumpeter. I got this album on Inner City, and reading between the not too narrow lines, it appears that there was some wrangling involved for his to get his tapes (or at least his rights to them), back from Strata-East (or perhaps more specifically, Charles Tolliver). So much for the Perpetual Utopia of artist-owned labels...but still, geez, do people still make records like this unless they're trying to sound like records like this? In which case, no, please don't bother, because that was then, they were them, this is now, and no matter how much you might identify with them, you are not them. And Sonny Fortune can still play his ass off, as they say. Also on this record, one of Dee Dee Bridgewater's superb early recorded moments. Between this record and her work with Heiner Stadler, no matter what she does today, I always have those in mind and know that even if she has totally lost her mind (and I don't think she has, not totally), it was a very good mind, so, hey, context, please, and all that. And oh yeah, ok, Alex Blake, still doing this with Randy Weston. That seems as it should be. In conclusion, a few things hit the spot a little less than others, but none truly missed the mark. Most of these selections speak to me in a "I was there" sense the way that 60s (or 50s, or 40s, etc.) musics speak to others. A very enjoyable listen. Thanks much!

No knowledge about that source, but the music is incredible, at least as much of it as I've heard. Material no doubt taken from these sources, among others: http://www.amazon.com/Bebop-Jazz-Paris-Byas/dp/B00005CF66/ref=ntt_mus_ep_dpi_2 http://www.amazon.com/On-Blue-Star-Don-Byas/dp/B000008AI1/ref=ntt_mus_ep_dpi_4 http://www.amazon.com/Don-Byas/dp/B00294J4DE/ref=ntt_mus_ep_dpi_8 http://www.amazon.com/En-Ce-Temps-La-Jazz-Paris/dp/B00005UCKY/ref=ntt_mus_ep_dpi_1 http://www.amazon.com/Laura-Don-Byas/dp/B0000507VA/ref=ntt_mus_ep_dpi_2 .

That seems to be how it's working. You get the "teaser", the headline and the wahtever that other line is called, but that's it. I just google that whatever line, and a link comes up that opens straight to the full article.

Always a firewall with WSJ links, but easily penetrable. The second link on this page will take you to it: https://www.google.com/search?q=Fast%2C+slow+or+blue%2C+Charlie+Parker+redefined+the+jazz+vocabulary+in+his+short+life.&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a&channel=rcs Doesn't sound like Morgenstern is too thrilled about any of the three books under review. It's like the books were an excuse for him to write about Bird instead of writing a book review. It reads more like liner notes than a book review (but I always/usually love me some Dan Morgenstern liner notes) But maybe that's just how he rolls. But...does this read like "Help, I'm being held prisoner in a fortune cookie factory"?

Buster Crabbe Buster Cooper Busta Cherry

dammit

Vick Mizzy Izzy Sanabria Sibby Sisti

Sandy Dennis Sandy Duncan William Rosenberg http://en.wikipedia.org/wiki/Dunkin%27_Donuts

It's an image-looking thingy between these two paragraphs:

Jeez, almost 10 years ago...and no album-cover-picture. That's just a rookie mistake.

"Postmodern jukebox"...that would be a cell phone, right?

What you want is the Aaron Bell 77 Sunset Strip album. That's Fake Fake West Coast Jazz! As for how I got into it, hell, my band director was a guy who did lounge gigs and stuff in L.A. in the late 40s-mid-50s, and this guy had records that he didn't listen to any more, so he brought them to school for us to listen to as/when/if we wanted to. Mulligan, Baker, Previn, etc., He had a John Towner record on Kapp that really bit, but apparently he knew Towner before he became John Williams (and this was before John Williams became JOHN WILLIAMS) I think the Pacific Jazz 10" referred to earlier was one of them - PJ LP2, with the Mulligan Baker quartet on one side, and Lee added on the other. Still a great record. Plus, the "stage band" thing of the time, we heard Kenton, and all the names therein. So, I didn't "get into it" nearly as much as it was handed to me. But - the guy also had Ellington Indigos & Kind Of Blue. So, hey. One thing led to another. DO NOT LISTEN TO THIS RECORD IT SUCKS THIS RECORD IS THE ANTI-SUCK RECORD

i swear to god, you don't have James Brown without Donald Bailey. RIP.

Mickey Finn Huckleberry Friend Johnny Rivers

I just put them inside the front cover. They usually fit on the diagonal, and I don't read liner notes too much more than once or twice, so..no problem. Out of sight, out of mind, and out of the way. But still in there for a strike. Remember also as well - You can always get rid of what you already have, but vice-versa is quite the opposite.

Personal preference, of course, but I'm kinda like, avoid those things when at all possible, and even then, buy used, and preferably just get burns. Save the real money for those I'd like to see have it.

I'm sure they kept receipts, so if it really matters, make a few calls.

Organizational evolution.