JSngry

For the record, the Mingus album was originally on Mercury.

Upping this as a sign of much listening enjoyment derived from the product under discussion. Buy with confidence!

A used WB/ECM copy with a few (just a few) clicky-pop audible signs of use-wear, which I suppose is the record-listening equivalent of getting herpes from a wonderfully virtuous chick who had been with only one guy before you, but she wasn't careful, so now you're stuck with it. Oh well, four bucks, and it's still a great record. Anyway, that uber-quiet ECM thing can be unpleasant at times, so in that regard it's not like getting herpes from a chick who had been with only one guy before you. Funny how things balance out if you just let them.

a "newspaper" is just a product out that a company puts.

John the Baptist Mack the Knife The Knack

The liner notes (by one Al Roberts) have to be seen - and read - to be believed. Here's a sample, verbatim in every regard: There is more (including multiple mentions of "Ernie Wilkens")...but even better than the liner notes is that my copy was once owned by Daddy Boo, who wrote his name, not once, but twice on the inner cover, same panel as on the liner notes. You want to know who bought Gloria Coleman albums back in the day? Daddy Boo bought Gloria Coleman albums back in the day, that's who. Apparently, Daddy Boo liked all but the first two cuts on Side One well enough to put XXX besides each of the titles, except for "Blue Bossa", which only got a XX/. Daddy Boo, I beg to differ. Even better than all this is the music itself. Damn good album. On that, I think that Al Roberts, Daddy Boo, and myself would all agree.

I got eager to hear it ASAP and ordered at their price. Where my personal math is now, 24 days (more or less) head-start > two or three or four bucks.

No idea about the Palm label, other than that in looking for an image of the one I have, I also found these: Looks like the label on all of these is Palm 30, not just Palm. Not sure if there's a connection or not. The one I have appears to be French, and is bootleg like a mofo. All airshots from 1937-38, and only basic song/personnel listings. No addresses or production credits to be found, even in invisible ink. As far as CD issue...I've not a clue! Found this at a Half-Price books for not very much a few months ago and figured why not, I might have it in some other format, I might not. As it turns out, two cuts were previously(?) issued on the Columbia Super Chief two-fer, but the others were all new to me. Serendipity!

I very much like the way Bill Perkins used to play and the way he played once he didn't play the way he used to play. There's some session of Mingus tunes he did with some L.A. drummer where the whole thing is Giuffre-like in its abstraction, and Perk is all up in it, like, yeah, I just play music, fool, not a style. Bill Perkins was cool.

Earlier Wayne drew blood. As he went along, he got into bringing you to your knees by just staring at you and discombobulating you like none other. Then when he got to the Weather Report-ish years, it was just the blinding light of his tone and phrasing that did it. Same ends, evolving means. Or something like that, if we have to have a narrative, and I don't know that we have to, at least one that reduces that much. So...never mind!

Received via email: The link: http://pirecordings.com/album/pi43

Speaking of plumber's...there's some nifty plunger work going on here: ...also on hand to unclog the drain are Hal Singer & Jimmy Forrest. Not even my arch-nemesis of groove Bobby Durham can stop this faucet from running full-on! Oh yeah, Gatemouth Brown, too!

You're probably going to use your melodic sense to determine the shape/arc/duration/placement/etc/whatever of your lines, and your harmonic sense to determine what notes to use, and how to connect them. I think it's a good thing to pay attention to each in terms of study, but when it comes time to forget all that shit and just play, then...it's all the same thing then. As far as the Ornette thing goes, that's just about being able to hear/feel changes on the spur of the moment, true melodic invention. Although, truth be told, Ornette has his devices too. Everybody does. Pure genius is a passing state, not a permanent condition. For some, it visits more frequently and for a greater duration than it does for others, but never does it just move in and stay put forever. Never. It's tempting to say that the more you know, the more options you'll have at your disposal, but it might instead be that the more options you want/need to have at your disposal, the more you'll end up knowing. Does need drive knowledge, or does knowledge feed need? Or is is a dualistic fallacy to separate the two like that? Also tempting is the maxim to always trust your ear, but...be careful with what your ear is hearing. It might just be trying to get you to play what you already know, only better. Or it might be trying to get you to play something you heard somebody else play that you like a lot...or that you saw that other people liked a lot. All of which is just fine, but only up to a point, and you can't always trust your ear to tell you where that point is. sometimes you gotta trust your brain. Or your gonads. Or your bank account. Or your inner godsense. Or....anything. Point being simply this - if your playing is going to be alive, it's got to be as alive as you yourself are. And you know what all goes into that!

Dude - we've been hearing the "the Spurs are too old to _____" business for at least five years now. I've always believed it too. And I've always been proven wrong., Them Spurs have signed a deal with the devil, or something. They just keep going.

"a boot"

It looks cluttered to me, and the content is the same. Lateral move, at best.

Kinda sucks when the future dies. Yet, it happens every day. RIP, and lord knows we thank you.

References? I guess a lot of it could be heard as a Miles/Dave Holland duet album ca. 1970 or so, only you don't sound like Miles, Bruno don't sound like Holland, and the music doesn't really sound like ca. 1970. But it's got that "flavor" to it somehow. That's meant as a high compliment, hope it sounds like one.

My favorite is playing sideways, where you get through the changes without actually touching them...or barely touching them. Bill Barron was real good at that, as was mid-50s Trane. Alterations, extensions and substitutions. Kinda like navigating a traffic jam without ever having to stop, just knowing where the openings are and timing everything to where you take 'em when they open up. Although, if you play sideways enough, you end up playing backwards, and if, like Warne Marsh, you play backwards enough, you actually end up ahead of everybody else. Wormholes or some such. They're there, that's for sure! Like the guy on the old Second City side said, this is all decidedly "non-Newtonian".

Except those Mezz Mezzrow solos composed entirely of arpeggios. Those are really, really annoying, aren't they! But then you have the piano part to Ave Maria, which is also entirely arpeggios, and that's got a suck-you-in melodic hypnosis thing going on, so...go figure. Yeah, how come nobody talks about playing diagonally?

Hey, I've wanted that forever! Did you get it recently? If so, where? MG Found it at Dusty Groove a few years ago.