JSngry

Songs are like puppies and daffodils, They must be tenderly loved and lovedly nurtured, lest the fall apart from inertial indifference and general common uselessness..

Hmmm...I don't know....bridged gaps usually tun into walls. Maybe the gaps work out for the better good. Ain't no living in a perfect world!

Bur dude, it's a SWIMMING Mao!

Why?

Well, nothing always works, nor should it. But I know pretty well what I want and what I don't want. What I'm very open about it how it gets here. Ring the door, I answer. Make your pitch, I listen. But the door closes quicker as time goes by, because how many ways are there to be true, and how many ways are there to lie? And of course, what is the truth and what is the lie? But of course. But my world is only sometimes the world, so sometimes I get to make the call and sometimes I don't. And I'm ok with that.

I was getting all non-committal (about the review) until I read this GONNNNNGGGGGGGGG - Game over, NEXT!

I'm perfectly happy to know that such things exist, what they're more or less "about", that such things are valid enough in their own world, to leave that world to those who enjoy living there, and to know that living there would not be a live I would want to live (and after a while, if you've not yet figured out when/what/how to know that....certain critical decisions remain to be made). I don't belong in all worlds, and not all worlds would benefit from me being in them. More than fair enough for all concerned, and as long as I can have my world. I'll extend the same courtesy. Point being just this - neither Mose Allison nor Blossom Dearie are hugely important in any of my worlds. But Mose gets in a little of some of them, and Blossom Dearie none in any of them. So for me to contruct a common "there" for them both to inhabit as, presumably, co-equals, at least in that place, that's not a construct I see any benefit in pursuing. Although I will say this - the finest, most perfectly shaped and contoured ass I've yet to see in my life was at a Playboy Club. So there is that. But neither Blossom Dearie nor Mose Allison was playing there when I saw it. so there is also that. I'm going with the ass that I saw versus the gigs I didn't.

We skipped the whole stereo-as-furniture thing and went from the Silvertone to the Sony HP-188, which I still have in my garage, and whose speakers are occaisonally pulled into oddball/emergency uses: This is the one that the jazz got discovered on, the one that went to college with me, and the one that went back into service after my fancy "audiophile" system got ripped off outta my apartment. McShann w/Bird & Basie w/Prez 78s got played here, as did Mingus & Ornette Atlantic 45s, and sooooo many LPs that count has long since been lost. And also - solos transcribed at 16 2/3. More than a few. Think I'll go out to the garage right now and spend a few seconds of gratitude. Well done, Sony. Well Done.

Your family must have been rich!

GET OUTTA THAT ROOM!!!! :g

https://www.google.com/search?q=self-deprecrating+jewish+humor+woody+allen&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a&channel=rcs First one on the list, actually.

http://www.haaretz.com/news/is-self-deprecation-killing-jewish-comedy-1.277679

I just stay out of the room to begin with. I mean, what good is having good instinct if you don't use it?

People get excited about The Long March, but that's the one with the mojo, that one right there!

Well, yeah, it explains plenty, that's for sure, especially a big part of why he ended up such a muddle-headed mush in terms of what good tunes, harmonic choices and voicing were. Another creative but weak-willed soul gets sucked into the strong and beguilingly insane yet ultimately empty world of some nutty diva. Happens every day and in every walk of life. (and it happens to chicks with rich guys in the same way).

Ok, from Blossom Dearie to Bill Evans to Dave Frishberg...that's a trail I do not willfully travel...parallel universe not of interest. Some are and some aren't.

Yeah, well....yeah. That's what she sounds like to me, always has. That's what I mean...the investment does not pay an even remotely satisfactory return, at least not for me.

Really not that much onto his singing (more so than in the past, but I'll still take his lyrics over his delivery of them, his time makes up for that weirdass enunciation), but his piano playing...the early "conventional" stuff is nothing to get excited about but as time went on, he ended up here, which is at once kind of a limited thing, but otoh...how do you get here from there? I don't know that you or I or anybody else would, really. And that's what I dig about Mose Allison, that he got here from there and...I can't think of anybody else who would have, really. Not like this. Go figure.

Just on a whim wondered if I could find anything about the record player I grew up with/on, from 1955 (pretty sure, might have started in 1956) - 1969. And sure enough... The Silvertone 8041. Four speeds, two speakers, tubes, CONELRAD markings on the radio (which was pretty damn good at pulling in distant signals, iirc), a thing that came out of the changer mechanism(?) that looked like a collar stay, and a RCA-style 45 adapter that clipped on the inside lid (see the empty clip above) and looked like the one on this one (the 7041), two-tone, black and gray: The thing always smelled like new when you lifted the lid, up to and including the last time I saw it, which was somewhere in the early 2000s. We got something better right before I got into jazz, but this is the record player on which I listened to endless hours of Goodman (the Texaco LP), Miller the AAF box + the mono Decca soundtrack LP w/those two killer Pops cuts), Hendrix, Beatles, Frankie Carle (well, my dad did..Ames Brothers too), Bing (at Christmas), Otis Redding, 45s. 33 1/3s, 78s, and, during the Paul Id Dead craze, 45s & 33 1/3s played at 16 2/3. Probably had a tracking force of 2 lbs (at least!), but that just sunk the memories in harder. The Sears Silvertone 8041, The Machine That Ate My Mind And Turned Me Out (While I Turned 'Em Over). Well done, Sears, Well done! Well done!

I found this title in the recommendations on that Amazon to be kinda funny: Mose Allison Sings: Rudy Van Gelder Remasters Ok, that's not a full album title, but if it was...

Wasn't Blakey (at least) using it before Miles? Or not?

Mose often played (plays? I guess?) some really, really interesting piano and probably knew at least almost as much as he let on, if not as much (and slightly possibly more). Blossom Dearie was...just Blossom Dearie. Ok if you like "that kind of thing", and I really, really don't. And I give Mose props for still making gigs at local joints with a working band way past the point where he should have. I still remember a DB review of a Lee Konitz set from the early 70s where Lee was out of tune for the opening few tunes because Blossom Dearie wanted no background noise whatsoever before or during her set, meaning that Lee couldn't get warmed up. An out of tune Lee Konitz, however, trumps a perfectly finicky Blossom Dearie any time, and a decent-at-best Mose Allison piece speaks to me more seriously than anything Blossom Dearie ever did.. What IS all this talk about loving her? Hell if I know! But yes, they both have the Arch Wink Coy thing happening, just as the Cubs and White Sox are both from Chicago.

Well, ok, but that's kinda like thinking that if you're from Chicago that you would be both a Cubs fan and a White Sox fan.