JSngry

The Upfront (aka Springboard aka Trip) issue of the Winley side w/Howard McGee. Very nice to hear Jug w/o a whole lot of reverb. Nice to hear him with it, too, always nice to hear Jug, but, just sayin'... And "Waco" on "bongos"..the whole damn city?!?!?!?!

Quite! Are you sure you want that much intensity on a jazz board? Seriously - I love it.

Bold added Game over, CT FTW.

I too saw both those bits last Thursday night and LMFAO-ed, especially the P&R bit (and Aubrey Plaza was again scary-funnygood role-paying "Janet(?) Hitler"...how DID that make it to the air, anyway?!?!?!)...but Dwight and Angela are such "types" that their angst was palpable. I felt their pain with their hand-wringing "JUST PLAY THE RIGHT NOTES!!!" Because, let's face it - that is the object of the game!

Dude, sooner or later, show business is all about getting fooled, happens to everybody sooner or later, and half the show of half the business is trying to figure out when it you be you who gets fooled, and looking for a way - any way - for it to not happen. Thus, the adventures that ensue! Poor Lou. If only he had known.

Got mine from Dusty Groove for $8.99. Not a bad deal at all. Do you know that label at all? This is #6...just wondering what else they came out with. The only other Kharma LP I have is #7, which is an interesting one, in a cool-idea-that-doesn't-quite-work kind of way - Unexpected by Kenny Davern. The trad jazz clarinetist/soprano saxophonist goes avant-garde, with Steve Lacy, Steve Swallow, and Paul Motian. You ever heard Roswell Rudd's Blown Bone? Davern and Lacy and Tyrone Washington! Kenny Davern seemed to have pretty big ears. Those all sound like ones to look for, especially that first one. Thanks! NP: Knowing how time is curved and shit, I dream of a time when this one and Percussion Bitter Suite and Straight Ahead all get recorded on the same day at the same session with the same bands and singers all in the room at the same time, and for the same reasons. Far more unlikely things could happen as time curves by.

Got mine from Dusty Groove for $8.99. Not a bad deal at all. Do you know that label at all? This is #6...just wondering what else they came out with.

As fate would have it, this followed Harold Alexander in the recently alphabetized (and already obsoletely so) To Be Listened To LP section. I like it, very much "of it's time" in every regard, and strong playing aplenty, although perhaps not always collectively. But sometimes so, yes. There's one point where Kalaparusha just leans back (figuratively, wasn't there to see if he actually did or not) and blows and it comes out Gene Ammons like a MOFO. Pure LOL Delight, that moment was.

Same guy, but he went on to some fame as an engineer: http://en.wikipedia.org/wiki/Jimmy_Douglass http://jimmydouglass.com/

Napoli's going to Boston on a three year, "high AAV" deal...sorry to see him go. He was injured most of last year but played through it as long as he could...and was solid but not great upon returning. Guess the Rangers weren't in on him for that type of a deal. "NA-PO-LI" will forever be a part of Rangers lore, as was his absolute brutality against Angels pitching. Sour Scioscia Face was always delightful! So long, it definitely was fun. We did resign Geovany Soto to a one year deal, though, which makes me happy, like eating leftover-from-breakfast toast at 9:17 AM happy.

Harold Alexander - Raw Root I'd have liked more raw, and more root, and less production, and less blatancy. And less flute. A lot less flute. I mean, geez, (mostly) Roland Alexander, Joe Bonner, Richard Davis are on board, and this is all that comes out? Produced by the now-reknowned Jimmy Douglass...guess he used this one as a "learning experience".

Here's an $0.89 Amazon download of a Kay Starr thing recorded live at an early Gene Norman "Just Jazz" concert: http://www.amazon.com/gp/product/B004W5HE1C/ref=dm_ty_trk It was originally released on a Modern 78. The way she sings the line " instead of sympathy, he beats the hell outta me" and the lingering murmur of the audience response it gets is pretty remarkable, I think. Like, oh, she just said that? whoa...This was the tune that made me start to erase memories of all the jukebox fodder that had accumulated to form my aural image of her. Hell, she's from Oklahoma, with some Native American ancestry. "Lots" of jazz folk came out of that Oklahoma paradigm.

Not recorded in Africa, not released on Atlantic!

Sweet.

Shit, I HAVE got this and didn't recognise it. OBO110X. Or maybe I haven't - if it's live. I'm not aware that Les made a live version of this with Eddie, unless it's maybe on one of those albums recorded in Africa. Must have another listen to check. MG Released on an American label. Twice, in fact!

Sounds like Helen Merrill.

Yeah, I check out this thread whenever I see a new posting. this thread is cool. Some of this stuff I've never heard or and probably never will hear, but still, knowing that it happened and that people are still finding validity in it speaks to an informed engagement with music, and that's always a good thing. It shows people thinking, reaching out as a result, and paying attention once they do. Plus, I've played enough 78s over the years to know that there really is nothing quite like it, either sonically or psychologically Sometimes there's real drama in watching a side start to run out of space and wondering how the hell everything's going to get wrapped up before it does. And sometimes it's a marvel that somebody got all that information in there in that (relatively) little time (45s are like that too). Popular music appears to have swung back to a "singles" orientation, but there are no time limits to an mp3. You put a single on a 10" 78, you have to deal with that. It led to formula, but I remember the first time I played "The Jeep Is Jumping" on a 78 (it was the first time I had heard it, god bless swap meets!), I was like, wow, there was a lot happening there. You hear that on a LP, not such a big deal, that one's over, here comes the next. But the 78 is over, and, whoa, let me...process all this. As far as sound, LP transfers are cool enough and CD transfers sometimes exquisite (and definitely convenient), but 78 RPM is akin to direct-to-disk LPs, only better, if you can get a clean enough side. Hey - 78 RPMs and bigass grooves to put the sound in. You can't pretend that's not a factor! Nobody can listen to everything (although Rod comes as close to anybody ever will...), but people who make actual decisions about what to listen to make me happy. And that's why the world exists - to make me happy.

http://en.wikipedia.org/wiki/Homage I didn't invent the language, and lord knows I only sometimes practice it as those who did intended, but this all lines up for me. Again, I think you have to look beyond the literal to understand what it is that is inspiring the homage. There was a lot more to Bird's music/being to get inspired by than just the notes themselves.

Delighted that you enjoyed it! Thank you for participating (and for being the icebreaker in the responses!), and again, glad that you enjoyed it.

If all Bird inspired was people to play more or less just like him, that wouldn't have been so much of an epic human event as it would been just a musical sperm bank. And Bird was definitely an epic human event.

Jimmy Reed. Could have led the list!

O Henry Henry Morgan Captain Morgan

Can't say that I agree with that, if only because a so-called "blue note" isn't a compromise at all - it is the right note (at that moment, at least). And that's because not everybody hears in 12 exact pitches at all times. You can break down sound any which way! I've told the story once, but I'll repeat it again. Chatting with Shelley Carroll one evening and asked him - who played more notes, Trane or Johnny Hodges? Well, of course, Trane did. Well, ok, but how many notes are there one of those long-ass glissandos that Hodges makes last forever? Well, that's an infinite number of notes. Ok then, how do you play more notes than infinite notes? Pause,grin, bust up laughing, because of course you can't, so it's time to realize that "notes" can/should be/are any sound on a infinite vibrational spectrum, and that although breaking them down into "notes" creates a certain useful functionality, it simultaneously neutralizes another, perhaps more useful functionality, and that is to make musical sounds more resemble the infinite signifying qualities of the human voice in everyday conversation. So-called "blue notes" begin to restore that natural functionality, to allow a player of an instrument to more closely convey with their instrument what they easily could - and as easily could - with their speaking voice. Not a compromise, but a liberation. The same holds true for time, of course. "Beats" "tempos" and such are useful and functional for "creating events", but are ultimately little more than mutually agreed intervals upon which other mutually agreed-upon sounds are placed in order to shape what would otherwise be silence (or at the very least, an ongoing sound event of non-mutually agreed upon sonic events). Time and pitch, two musical elements that have literally no limitations at all, and we love nothing more than to find as many limitations in them as we can, going so far as the think that the more limitations we create, the more we are "discovering".. Folly!