JSngry

Still trying to figure out who this trombonist is...but I'm reminded that Baraka (then Jones) wrote much the same thing about Cecil Taylor's Candid recording of "This Nearly Was Mine" to which Joe Goldberg quoted Cecil as replying, "Doesn't that fool know that I recorded that song because I like it?", or words very similar. And still I would have called him on that, maybe by asking him if he was being ironic in saying that. I mean, I've had (as many of us have had) plenty of conversations where there was a period of bluffing/testing/whatever going on, just to see who it is we're really dealing with...sometimes (often, in fact), once the games are over, it gets good. But sometimes it doesn't, and sometimes it never even gets there. Oh well...

I've still got 45s of Anarchy In The UK and God Save The Queen, still play them every few years, and still get an adrenaline rush. OTOH, I quite enthusiastically bought Never Mind The Bollocks... upon release, and had sold it within six months. Sometimes moments are all that is needed. No need to apologize for moments, not if they're good ones. But...

So, how good you looking to feel today?

Yeah, I don't blame you for leaving. He sounds moronic. See, I would have just asked him what he meant by that, that I didn't understand what he meant, please elaborate because I want to understand. Either he was gamin', in which case you've called him on it, or else he really did have an angle that he could elaborate on, in which case you do gain insight. The angle might still be bullshit, but we all got bullshit, ya' know? Either way, I just don't leave it hanging like that. I don't like leaving stuff like that alone, not unless I'm running late for something else, or something like that, or if it's my wife looking to set a trap. FWIW, I could see "irony" as being one manifestation of "tricksterism" You could go there. Or you could just be looking to psyche a mf out. But you never know for sure until you push it.

Ryan Braun's sample collector releases a statement. http://mlb.sbnation.com/2012/2/28/2831135/ryan-braun-sample-collector-dino-laurenzi

The internet is still my friend. Kim Dotcom was just the flashy drunk one.

Indeed it is.

Sam McDowell wasn't such a nice guy back in the day, or so I've heard.

A worthy subject, definitely.

The Prestige date is a quartet with the Hanna/Davis/Lewis rhythm section (I think an interesting comparison could be made of that trio to the Byard/Davis/Dawson trio, actually, each relative to their own milieu...they do a lot of the same general "breaking up" of the timekeeping role, and in both cases, Davis is often the locus). It get a little "facile" at times, but it's a loose facile, so...it's all right with me. Looks like The Return Of Don Patterson saw Muse CD issue as The Genius Of The B-3 So it's been reissued whole at least once.

Good stuff - Ted Dunbar & Freddie Waits along w/Patterson & Daniels. Origianlly released as Muse 5005, no idea what permutations it went through after that. Interestingly(?) enough, Daniels plays a little soprano & alto on it. But no clarinet. Also worth looking for is his debut date on Prestige, First Place, First Prize, First something-or-other. That's good stuff too.

It's a trombone thing! Especially an Afro-Cuban/Salsa/Whatever trombone thing! Conrad's spend years with Eddie Palmieri, and that has gone past rubbing off into seeping into...probably in his blood now, irrevocably. What I'm working on is trying to get a handle on this "Carribean" notion of trombone sound as it relates to the Kenton trombone sound. There are definitely parallels, and I'm wondering who was influencing who, or if it was just one of those things where people end up at the same place independently, then men when they meet up, it's like, "Oh, you too? Cool, let's be buddies." Then there was Barry Rogers... This is a lousy transfer, but these trombones be playing HARD!

We've had this discussion before. The internet is your friend.

You just need to have it to the point where the songs are in the keys they got played in. Between "standard practice", knowing instrumental idiosyncrasies (i.e. - false fingering sounds on saxophone, etc.), and your own good ear, you can usually get close enough. When you get down to a matter of microtones, hey, too many variables. Unless you have a known-quantity reference of that performance, don't sweat it. But otherwise you can get close enough to make it sound real.

Unless there's some sort of intentional production gambit at play, a recording always sounds better when the instruments are heard playing the pitches they actually played. You get the natural resonance and overtones of the sounds. Most brains can sense the difference, if not consciously, then subconsciously. A long time agoI borrowed a 2-LP set of Miles in Boston (w/Jimmy Zitano & Migliori. iirc) to dub, only to find out that the pitch was off a little less than half a step. My variable speed turntable fixed the proble, and it all fit onto a 90 minute casseteet, at the right pitch. Then you got that Sonny stuff from Graz(?) where he sounds like he's on alto almost...that one would really be best done on computer...you may not get it exactl, becuase you never now about external factors which might have affected the subtlties of pitch, but you can surely bring a tune back to Ab from B!

Hey, what's that? Never seen it before! Good, great, essential? (Well, good at least, it's Duke!) More or less a dance album, but an Ellingtonian one, so that ups the ante quite a bit. The royalties issue is a red herring. Don't worry about the other people getting screwed, that's out of your hands unless you're in the industry, in a position of power to effect change and/or enforce policy. Worry that it's you who's getting screwed by this flea-market crap, both short term and long term. People who eagerly embrace stuff like this are enemies of humanity and should be dealt with accordingly. Have your bitch-slaps at the ready, good citizens!

Guess who?

Yeah, ask the Smalls guy how his Frank Hewitt series went.

I'll laways love him for those records, his work on The Hub Of Hubbard, and on The Return Of Don Patterson. And the "fuck him" thing was a joke, but sometimes I forget that this type of humor is not shared by all, so...sorry. for real.

That's not time, that's CD dust!

Sorry. I get pissed off sometimes thinking about when good players go bad (meaning only that I used to like them, now I don't), and when I get upset, I often say fuck. Wishful thinking perhaps... So perhaps it's me that needs help, not my post. Fuck me! And if he did in fact go through some changes that resulted in his life improving, then I have nothing but the best wishes and highest congratulations for him. Seriously.

Help out on this one, will ya'? Or let me help you out, perhaps. Which ones were difficult to locate on official CD, exactly? Such Sweet Thunder $7.78 here: http://www.amazon.co...30392836&sr=1-1Armstrong/Ellington Master Takes (17 songs, both Roulette albums, how many did they give you?) $7.99 here: http://www.amazon.co...30393058&sr=1-1Nutcracker Suite Included here ( + two other suites - 9 additional) cuts for $7.99 http://www.amazon.co...30393235&sr=1-1Piano In the Foreground $6.99 here http://www.amazon.co...30393504&sr=1-2Piano In the Background $11.98 here http://www.amazon.co...30393577&sr=1-1Cosmic Scene $15.00 here http://www.mosaicrec...asp?number=1001Bal Masque (I think that's what cover they're imitating...) (+ bonus cuts, again, how many did they give you?) $14.84 here http://www.amazon.co...30393760&sr=1-1Anatomy Of A Murder OST - Look at the options! http://www.ebay.com/...-All-Categories And of course the sound will be good - dollars to donuts you're just getting burns of these CDs (and probably not the extra cuts on them).

I just liked Eddie Daniels better back before he got all "formal" and shit. Seems like the looseness went away, and the looseness was what appealed to me about his playing. And yeah, I remember that clarinet solo with Thad & Mel. Loose as well. Who knows, maybe he sobered up or something, in which case, hey, he made the right choice (if it was like that). You can always have a career, but you can't always have a life. OTOH, if it wasn't something like that, then...uh....fuck him!

"Umbrella" sounds so much better than "line".

Chuck Berry got it, I'm sure!