JSngry

What happens when the oxide starts to flake off? should you bake the dress?

Mr. Weird and Wacky Arkadin Porco

Arthur Duncan Norma Zimmer Paul Humphrey

Would that more were!

There's more people that I'd rather not hear than Dave Sanborn than there are people I'd rather hear than Dave Somborn. Both numbers are in the double digits, probably triple, but, just sayin'. The guy can play.

Mel Torme Melle Mel Gil Melle

Yes, have both albums, just using that as an example of what the Stepney/Lewis team did in terms or record-making, not as a track ID. The really interesting stuff on MNS is the electronic interludes composed by Stepney. The little bit of craziness that showed up on EW&F's "Getaway" can be heard in much more elaboration there.

I use the internet to spy on jazz.

Damn Joe, 25 is lots for one sitting, but I might have the time here, so let's get this party started, the usual thanks and disclaimers firmly but lovingly loose in place. TRACK ONE - There's something late-Ellingtonish about the piano intro, and then it goes into "Cubano Chant" territory...and the scattered Ellington-ish traces remain. Ahmad Jamal, by any chance? Sounds like a player whose focus is more on ensemble dynamic than soloistic improvisationals. Also, the lack of be-bop bob-and-weave suggests Jamal as well. More busy/dense than "classic" Jamal, but not out of line with where he'd end up being by the end of the 60s. TRACK TWO - Nathan Davis w/Woody Shaw & Larry Young. I like this very much in every regard for many different reasons, not the least of which is that time of Ex-Pat American/New Gen-Less Stiff Euro interaction all through the 1960s produced some really strong music that suffered not even slightly any sort of "identity crisis", and you gotta love that, and the implications thereof. TRACK THREE - Sounds like some kind of Kenny Dope thing...but the longer it goes on, no, not a DJ-ed environment, although...still not 100% convinced, only 97% convinced...no, 50% convinced at best...oh, not it gets all descarga-y. So where are we, anyway? I'm not sure. More Willie Bobo? There's a pretty direct link between Kenny Dope & Willie Bobo, although this might be neither of them here. TRACK FOUR - Couldn't help but find out what this was, and...wow. How perfect of a win-win of calculated opportunism is this? Might not have sold for shot, so the joke was on them, but in the longer game of WOW CHECK THIS OUT!!! it's the type of thing that will live forever, and for good reason. TRACK FIVE - No idea, but is that Hawk? TRACK SIX - If Monk played "I Wish I Was In Love Again", it might sound like this, but that's not Monk, and that's not "I Wish I Was In Love Again"..covering the lower end of the piano, eh? Not so much the top end. Whoever it is, it's obvious they love palying the paino and spend a lot of time both doing and thinking about same. And harmony too. TRACK SEVEN - Not-American Tristanoism, I'd be willing to wager. (and yeah, I hear a little Tristano reachiness in the previous cut). That drummer is silly, no wonder Lennie hated drummers! TRACK EIGHT - Geez, a YouTube of this arrived totally unexpected in the Alex Hoffman thread, and I was almost ready to guess Harold Land as the tenor player. Better not do that now! Let me just say that Brian Lynch keeps turning up in interesting places and leaving them at least as interesting as when he found them, if not more so. But that alto play bugs me, as non-totally-badass alto players tend to do. I can see why this type of structure continues to hold appeal, the changes set up an unpredictable yet inevitable story, but you have to decide for yourself if it's the unpredictability or the inevitability that works for you, and for me, in the end, the inevitability kinda takes the luster off the unpredictability. Of course, that happens in everything, so I guess it's then a question of where your stopping point it. This is not mine, but hey, still enjoyable music. TRACK NINE - Hampton Hawes? Stanley Clarke? Ron Carter? Kenny Burrell? Something sounds like Fantasy/Milestone early-70s. The timbres are more engaging than are the notes, fwiw. Lots of very standard vocabulary being spoken in interesting colorations. TRACK TEN - Sounds like "Now He Sings..."-era Corea translated to Rhodes...not a bad thing at all. Maybe not a great thing, wither, but I've always liked Rhodes in gerneal, it's just a meaty sound to start with, the muddiness that some hear is meat to me. Otherwise, this is nice enough, but the Rhodes sound makes it nicer than would the same thing on acoustic, which is to say that and idea that only goes so far only goes so far no matter how you send it. TRACK ELEVEN - Now this, this has some holistic energy going on. Nothing being "transferred" through instrumentation or timbre, it's just music being played as is. Very good interaction, trumpet player sounds a little weak in tone, but that's what isolation booths and/or baffles and/or close miking and/or mixing boards are for. Might this be Greg Herbert on tenor? Nah, scratch that. I lie this cut, I like how nobody's wearing young clothes to try to disguise old bodies. That never works. This drummer, though, he/she works! TRACK TWELVE - I can hear the math of the development, which sometimes delights me and sometimes irks me, Right now it''s irking me just a little bit, which is to say that a some other time, it would delight me. Timing is everything, I suppose. TRACK THIRTEEN - Oh my, that's hilarious! and I mean that as a high compliment! And short enough to fit on a 78 if needed. and I mean that as a very high compliment. Clarity, I love it when that happens. TRACK FOURTEEN - Well, eight bars is still eight bars, no matter where you put the harmony. I like the rhythm players more than the horn, and the piano player almost threatened to break out of the eight-bar box. All of them sound like people I'd probably like more on some other piece. But this is kinda like an attempt to be Monkian that ends up being just too obvious to survive once you figure out the math: F Eb Db C-B Bb Ab Gb F-E Eb Db Cb Bb-A Ab Gb E (up to)Eb-E Two beats per chord, two cords per bar, eight bars total, that's the cycle, over and over. Pretty much the basic/main "Topsy" (and god knows what all else) changes ran through the 1/3 the cycle of fourths (see bolded notes that begin each cycle, each one a fourth away from the last one, and four out of twelve covered) , with a chromatic passing tone used on the "destination tone" of each pattern to pivot it over to another cycle. I guess it's clever to have the last pivot be upward in both octave and direction to get you back to where you started, but it's also...too easy? Eight Bars is still eight bars.++ TRACK FIFTEEN - That sounds like Glenn Ferris on trombone? If not Lacy, then should be. And drummer is, period! But Lacy/Ferris? Don't knwo of that...but if so, then would like to. TRACK SIXTEEN - Well, yeah. There it is if you like it, there it is if you don't like it. Haters gonna hate, but players gonna play. Players FTW, always. Motherfuckindamnstraight ALWAYS. And so much W here. SO much. Players, hell yeah. PLAYERS! Roy -MF'in McCURDY And HIS Dancing Ass! E Bom Bom Bomm DA-Dot DA-Dot DA-DOT! TRACK SEVENTEEN - That's a nice song...not a "jazz original"? Maybe a tricked-out pop song? No matter. The projection o the music is a little too "controlled/modern" for me, but I do dig the tune and what they're doing with it, I'd just prefer a little more palpable...sweat. Or something. But that's a hipass tune. And that drum/bass hookup, that's sweet, and maybe even sweaty in real life. TRACK EIGHTEEN - Andre Previn? Seriously. But then WTF WAH-WAH? Maybe NOT Andre Previn? TRACK NINETEEN - I got this record, Dave Pike, Windows Of Perception. Damn Good record, got some interesting late-60s Konitz as well as this Leslied-Out Eddie Daniels. Nice choice! TRACK TWENTY - Kinda Rahsaan-y/George Adams-y rolled into one not quite James Carter-y, which normally I'd say get a life, but it sounds like a life has already been gotten, so keep on keepin' on, as they used to say. But the rest of the band, hey, get a lifier life, maybe. Although the conguero & the drummer work well as a team, even if they both appear to be playing straight man to each other. TRACK TWENTY-ONE - That's some hip shit. Kinda reminds me of Hank in Paris, although obviously not. But that same bite-y internal tension..I hear it, and the piano player's on the same page. Hell, everybody is. TRACK TWENTY-TWO - Gil Melle? Harold Vick on soprano? Those are the only names that come to mind, and for totally different reasons. But if I had to pick one, it would be Melle, because the textures wound like logical extension of Tome VI. TRACK TWENTY-THREE - Wow, definitely Melle? But no, not, maybe a Melle sample? Got something a little Jon Lurie-esque to the vibe to me, for some reason. No matter, but yeah. You can't go on forever like that, but you can sure go on right now like that. And thank you for so doing, whoever you are. TRACK TWENTY-FOUR - I liked whole tone scales better the way Hank did them.But I preferred coke and alcohol better to heroin and alcohol. So this one leaves me torn. TRACK TWENTY-FIVE - For my tastes, the tow immediate post Young-Holt versions of The Ramsey Lewis Trio was infinitely more interesting, the one with Cleveland Eaton & Maurice White/Morris Jennings. both as a unit and as record-makers, the latter due to how you put Charles Stepney into the mix, that's why. And through Charles Stepney, a lot of things passed, many interesting things. Oh, sure, we could keep doing head/solos/head, or we could do improvisations, or we could even do compositions, but dammit, how we make a record?!?!?!?! Again, haters gonna hate, but players gonna play. Damn Joe, 25 is lots, but it's a good time in so doing .

Dorthy Dandrige The Oak Ridge Boys Elvira Madigan

Same tune.

Carl Heinrich Theodor Knorr Ra Jonas Salk

Mindy Kailing Monday Michiru People Who Play Name Three People Only On Mondays And Don't Read Past The Previous Trio Of Names That last one might represent a pretty narrow segment of the overall population, but that's the beauty of the game - it's accommodationional in the extreme!

People Who Look At More Than The Previous Trio Of Names The Andre Previn Trio Mia Farrow

I try to make it a point to go back to my last contribution and follow from there, so as to avoid a possible redundancy or to see if there's any trend ongoing off of which can be played. Then again, I'm in and out with contributing, sometimes having time, sometimes lacking inspiration, sometimes both. In that case, I still try to read the recent inputs before re-entering, just because, if you gonna play, play well.

Vivian Vance Cyrus Vance Miss Miley Cyrus Wearing Hot Pants

Bake Turner Pie Traynor Mitzi Gaynor

Orson Mobley Mr. Bean Mr. Mister

Norman Cousins Kissin' Cousins Arthur O'Connell

Little Liza Jane Little Red Riding Hood Little Rootie Tootie