JSngry

McFlism McJism McDizum

Can't sleep, might as well have a BFT, with the usual thanks and disclaimers Ambionically in place, away we go... TRACK ONE - Plenty of chops, but at the end I feel like I'm at a vaudeville show or something, and I'd just as soon not be. TRACK TWO - Charlie Barnett? Nice band, nice bridge. The chart kind of puts me in mind of "Little Jazz", but the tenor puts me in mind of Barnett, so it's probably Barnett affectionizing "Little Jazz".Things could be worse. TRACK THREE - That's Bud's left hand and Bud's touch, but the tune is not one I know off hand, and the lines seem a little strung together to be Bud, or at least prime Bud. But I think that's Max...Oh well, plenty of piano here! TRACK FOUR - Dig that intro! A whole inversion/conversion/reversion of the Dear Old Stockholm lick. Nice! The tune I had to beat my head up on until I remembered 's version - it's "Why Do I Love You", and that's Lucky Thompson (had to process-of-elimination it on AMG, but the tone was sooo familiar that I knew if I saw a name it would jump out at me, and sure enough it did). I don't knwo that I've ever not enjoyed Lucky Thompson. And I very much enjoy Hank Jones' contribution here. TRACK FIVE - I really should know the name of this tune...it's by Cedar? AAAARGH....great tune, heard it for years, guess I never learned the name....great bass sound, just a gian huuuummmmmmm, that's what you want for this. Very nice all the way around, and I'll kick myself when I hear the name of the tune. TRACK SIX - Sounds like Chick of the Now He Sings... period, only on a worse piano.. Can't say that I know this album, but I like this quite a bit. The whole trio + the mystery tenor in the background is all together in their zone, and they are actively engaged in being actively engaged in their zone, so hell yeah. TRACK SEVEN - Burton? Those vibes are gorgeously recorded, not too much attack, and a damn near infinite sustain...interesting tune too, takes you on a real ride. Great bass playing too, fat sound but still bouncy & syncopated, no small feat, that...solos ain't working too much for me, but the bass playing and the tune itself are covering for them. TRACK EIGHT - The obvious guess would be Ra, maybe off of Pathways To Unknown Worlds? This is nice and linear, there's a narrative, a story unfolding, and everybody's in there together. Fine music! TRACK NINE - Sounds like a "classical" composition & pianist, beautifully written and played. I can hear it. TRACK TEN - "Chasin' The Trane"...kinda "New Yorky", but it could just as easily be Europe in the late 60s...I'm not not liking this, I'm just not liking it. Tenor player sounds like Booker Ervin meets Junior Cook...Some other time, perhaps. TRACK ELEVEN - Zawinul! No? Well, it could have been... TRACK TWELVE - I'd like to say Wayne, but it's not, I don't think. But it could be...is this something unreleased? I don't think it sounds "finished", and it doesn't sound like it could be anybody else but Wayne. More details, please! TRACK THIRTEEN - http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:fpfpxqq0ldke There it is, and 'nuff said. I had my doubts about this one, but nope, Tenor wins. Pretty delightful collection all told, a lot of good tunes and individualistic sounds and touches, I line for shit like that. Thanks!

You take the schtick, I'll take the groove. Works for me,

Chuck Brown swings. That stuff gets deep sometimes... If you can find this - and live through both discs - you will be high for life, I promise.

I've had parentes whisk their kids away w/no candy while this was playing. True.

Not sure if this is one of the unofficial (and I can guarantee you that neither the estate nor any record company was behind this one) Sinatra outtakes collections I've had the pleasure to come across or not, but most of the ones I have are of no small musical interest. Sinatra was a true artist, and hearing how he shaped the final performance as he went along is worthy of much study for those who are interested in such things. Having said that, such material is not so much "for collectors only" as it is "for considered evaluation only", and that is indeed a limited market. Edit to add: Yes, I have copies of both of these, and yes, I enjoy both (for the reasons stated above). But they are definitely bootlegs, definitely rare as hell, and definitely not of "general interest" in either content or intent.

Darlene Love got skills and was a key part of Spector-History. She's good by me.

Plenty of dead stuff lying around. The air is rife with the stench of death not properly buried. Thing is, there's plenty of parts to be had, for those with the wits to put 'em together, the ingenuity to not try to put them back together in the form from whence they came, and the smarts to know that doing it sustains life instead of letting it perish.

Yeah, the links have "..." in them as literal characters.

Bob Cooper Nancy Clapper Valerie Capers

No need to apologize, Paul. Saul Goode.

Geez, you put a guy on ignore and you still see him in other people's quotes. Oh well.

Does paying the rent/mortgage on time count?

It's always nice to be able to be involved in the dissemination of honest positivity.

http://www.youtube.com/watch?v=xFFarIS7Gyc

The curse lingers...I mean, this is one of the great Rugolo/Kenton legacy pieces (seriously, I'll go to the mat for this one), but....not if you don't EXPRESS it!!!

Wow,,,,he looks like he could've been any number of people from my home town...and ended up like so many did...but he didn't...we talk about the triumph of John Coltrane, it ain't just about music...music might be the least of it all...

Where/who is a reliable retailer on these sets who also has a fair price? Not necessarily the best price, just a fair one. I'm put off by some of the stories about this Dusty's place and Italian postal service in general, but I really want that Dixon set...

Prince Paul is right as far as he goes (and he goes pretty far correct, imo), but at the same time, the "it ain't gonna be the same as..." argument worked for rock music too. No way that clarinet is going to create the tinglies of Van Halen (or whoever you want to use) in your average young-ish person. I'll use the early M-Base music as a highly-qualified example of might might have gotten some reciprocity if 6 was 9 and all that...or not...but I'm (again) just saying that sampling & drum boxes were too accessible (and too cool) to have not been jumped on no matter what the circumstances, but why nothing else came in except by "conscious attempt" has to be looked in the face of what was becoming more easily accessed and what wasn't. Out of sight, out of mind... (and I've had my eyes on that book for a few years now...might be time to go ahead and get it...)

By all means, do. So far all I've heard is a somewhat reasonable assertion as to why composers and compositions bring finished and polished product to the market more effectively and efficiently than do improvisers and improvisation, which is good, I guess, if you're looking to go into the business of moving said product, I guess, but I'm at a total loss to see what that has at all to do with the actual making and development of music, including the hows and whys of why somebody would view their path as rewarding enough to doggedly continue on it in spite of it ultimately wasting time in producing an inferior and inefficient product, time that could have been better spent...doing, what, exactly....focusing on defrictionizing the procedural dynamic between deliverables, maybe? Or getting on PBS! YES!

Mickey Tucker Mickey Bass Mickey Roker

I find many of the jazz threads here infuriating, but hell, if this board existed only for experts to redundify their expertise, it wouldn't be too much of a place at all.

Connie Conehead Zippy the Pinhead Roy Head

Rod Serling The Platters Tony Williams Lifetime