JSngry

Quite possibly! It's easier with Eddie because he left a trail. The guys you mention (and include Gerald Albright)...not so much. But it's in there, imo.

Elvis Andrus Abner Doubleday Jerome Cooper

Jomboy (sp?) has highlighted at least one other instance of his psycho behavior.

Bud Anderson Wally Cleaver Robbie Douglas

Yeah, Winker's "energy" seems to be on the wrong side of...whatever. I think he's got a side deal with Satan.

Is 10 Braxton/Halverson? Braxton I'm sure about now, from the attack.

And just, like, if you know the deeper parts of Eddie Harris's music, that stuff is still there in his really "basic" music. He codes it in there.

The inner core message of blackness. Eddie could played the simplest most commercial stuff, skate over the top of it, but that core was always there. Coded in there no matter what.

The Universal Gass- If Everybody's Beautiful, Then I Am Freakin' GORGEOUS!!!

Jazz is dead and so is Rock AND Roll. Let's move on.

Pretty sure this record got ***** in Down Beat. Know for a fact that the (overnight) jazz show on one of the Black R&B stations played it (and many other things) Ok, I was a white kid and at first I was a bit snobby about "commercial" jazz. But as I got out into life and got in and around the people and places from whence the music issued, the snobbishness dissolved. What's funny about the "history" angle is that as a rule I found far more snobbishness amongst the older hard bop players. But - they played that music when that was the gig (and in the community, it very often was) and they played it quite well. Some -on any given day, lots - of the "commercial" stuff was just that. Product. But somebody like Eddie Harris...today it's fashionable to talk about "coding". Well hell, Eddie Harris was coded like a motherfucker. He reached people not because of what he did or did not play, he reached people because they could FEEL him. Same thing about Coltrane, btw

I see that the author is an African-American University Jazz Educator. So maybe his "we" is different than mine, maybe it's lonely where he lives.

Public Defender P.D. Wodehouse Brick House

Jeanne Lee Lee Konitz Fudgy the Whale

Happy Friday!!!! TRACK ONE - Pretty sure I have this one, but the identity escapes me. Sounds like Johnny Coles, but it isn't. I like the arrangement, those voicings are pretty modern for the time (based on the recording, sounds like early-middle 50s). Ensemble phrasing is good too. Dare I say that this is just a bit "ahead of its time"? Excellent performance! TRACK TWO - A little on the basic side of "Spiritual Jazz", which is not to say that it's lacking, just that that's where it is. Gotta think that there's more than this on whatever the record is. Certainly sounds like strong players, just not a lot on this cut. Certainly would like to hear the entire record! TRACK THREE - If this is Elvin, I'd like to know who the tenor player is, as it's a pretty non-Elvin-y tenor player. If it's not Elvin, then that tenor player needs to wait until they have enough of a personal concept that they don't need an Elvin clone to try to get over. I mean, it's good playing, but at the end of the day, Trane is Trane and cats have been trying to "get to the other side" of it for more than half a century now, and...what? Nothing. I know that sounds harsh, but it's not meant with any disrespect to all the work that's obviously been done, but for me as a listener, I end up with a lot of...deja vu of the non-mystical type. Keep trying, I guess? TRACK FOUR - Sounds like "Fancy Free" but isn't? Or is it? Is that Blakey? If so, is that Woody Shaw? Must be one of the early 70s Prestige sides. I like all of those records, Stanley Clarke, then? That's got a good pocket. Very danceable! I regret Blakey's decision to go retro, this was a good vibe for him an the Messengers. Not sure who that tenor player is, bugged me at first but then it got dug in and got good. Another winner here! TRACK FIVE - No clue. Interesting vibe, like you think it's going to be a meditative vamp and then, look out, there's changes! And then it goes back. I like that it's deliberately "small", small actually creates more room than "big" because big is already using the space, right? And I like how the message here is not overtly PEACE or some shit, this is a lot more than that. Nicely played indeed. TRACK SIX - This is another one I think I have...one of those things that is strong where it stands, but might get wobbly if it starts walking around, if the makes any sense,,,so, you know, not everybody needs to move, if you got a good thing where you are, maybe keep it right there. Be a tree, not a bird. TRACK SEVEN - Good pocket! And whoa, what is that guitar?!?!?!?! Tuba, Howard Johnson? Liking this one a LOT. Another danceable thing. Sayin YES to that bass solo, ALL the way in! No idea what this is, but that's my bad. TRACK EIGHT - Bern Nix? Pretty unmistakable tone and attack. I have one record by his, is this it? LOL. Black and yellow cover? I like his thing, it's an in way of playing out and vice-versa. Main thin is his pitch, how be bends the notes like a blues player but doesn't sound like a BLUES PLAYER. A perfect partner for Ornette in that regard. TRACK NINE - In your face from jump, gotta love that! Bob Brookmeyer? On this kind of a date? Shifts expectations....I like it, it's short and to the point. TRACK TEN - Ok, my favorite version of "Blue In Green" is by Archie Shepp, on Venus, and this is not that. I do like what happens after the head, it opens up into its own space. I like that, especially these days. Very disciplined too, in the good way, listening and collaborating instead of imitating. This is a group, not a bunch of pickup pranksters. Much love just for that alone, but there's more due, just for having some courage and, dare I say, vision. TRACK ELEVEN - more fourth-y voicings, shades of Track One! Is that Tyrone Washington? Barbara Donald on trumpet? Sonny Simmons on tenor? These people came to play, that's for sure. I should know it, but I don't, and I should have it, but do I? Is everybody on here still alive? That's a lot of energy.... TRACK TWELVE - Hmmm....not for me. At least not today. TRACK THIRTEEN - When your car is about as long as your house is wide, you get privileges, all told, a thoroughly engaging set, engaging and challenging. Much appreciated here!

I wonder about the last chapter - how/why "we" forgot...is this going to be some dogmatic axe grinding? Not sure who "we" is...it certainly isn't the people I knew, except the White Folks who were "sophisticated"...otherwise, a few decades of Acid Jazz, Rare Grooves, and crate-digging argue otherwise. Nancy Wilson and Jeanne Lee are not the same thing, but they weren't supposed to be and they don't need to be. Not for me, and not for some other people I know. Yin & Yang, there is always both. Promote one at the expense of the other at your peril.

Jesus Alou Matty Alou Felipe Alou

Laurence Tribe Baby Laurence Dave Cortez

Odd as it may seem (or not?), NT in the 70s was not the place I needed to be to foster an appreciation of that band. But some decades and distances later, fresh ears and a cleared head about it were just the trick!

I don't mind the Mets, but that Winker guy seems like a dick too far.

But Import CDs has screwed me several times over. I have zero trust in them now. I'm glad that that has not been your experience.

Richard Pryor Post Malone John Harvey Kellogg