JSngry

Which is, oddly enough, the same site where you can view the label!

Looks like he did....

I just sent him sum stuff via email. Hope he gets it!

http://www.youtube.c...h?v=zjXMVndc_pQ Alan Brady http://www.youtube.c...h?v=Em5hvrspt2c The Brady Bunch

Pluto Mickey Donald

As close a combination of those ingredients as I could find.

Harland Leonard Wernher von Braun Hakeem Olajuwon

My first Al Cohn album was a three-pocket 45 RPM EP set - The Natural Thing to Do. I'm going by memory, but I think the personnel is Cohn, Joe Newman, Frank Rehak, Nat Pierce, Freddie Green, Osie Johnson, and (had to look this up) Milt Hinton. Have already listed my first Al Cohn Lp earlier so got to go another way: My first Nat Pierece leader compilation: "The Boston Bust-Out" (Hep LP 13) feat. Nat Pierce Orchestras of 1949 and 1950/51, Serge Chaloff-Ralph Burns Septet of 1949, Charlie mariano Sextet of 1949 and Ray Borden Big Band of 1947/48. Lots of other sidemen on the LP but except for Sonny Truitt all the potential band leaders are in the above named featured bands. Bass - Everett Evans Drums - Jimmy Zitano Piano - Ray Santisi Saxophone [Alto] - Boots Mussulli Saxophone [baritone] - Serge Chaloff Trumpet - Herb Pomeroy

My first Thad Jones was Presenting Thad Jones/Mel Lewis and the Jazz Orchestra on United Artists/EMI vinyl with Jerome Richardson, Joe Farrell, Jerry Dodgion, Eddie Daniels, Pepper Adams, Richard Williams, Danny Stiles, Bill Berry, Jimmy Nottingham, Bob Brookmeyer, Jack Rains, Tom McIntosh, Cliff Heather, Richard Davis, Hank Jones and Sam Herman. EDIT: Sorry, Shaun, that big band personnel takes a long time to write out! Bob Brookmeyer Curtis Fuller. with Wynton Kelly Paul Chambers Paul Motian or Thad Jones Joe Newman Hank Jones Ed Jones Charlie Persip

Frankie Capp Andy Capp Chalkie

Albert Dailey (ldr), Art Kaplan (f), Phil Bodner, George Marge (ob), Ray Shanfeld (bsn), Brooks Tillotson (frh), Jack Wilkins (g), Albert Dailey (p, ep, syn, b, d), Lisle Atkinson, Richard Davis, Percy Heath (b), Roy Haynes, David Lee, Mickey Roker (d), Charles McCracken (vc) Surely somebody can go here?

You want great stories, you work in a facility with mentally challenged people. I guarantee you that you'll get them. Whole 'nother world, and just as delightful (and depressing, and surrealistic) as "ours". Rufus & I might think it's a spotlight, but according to http://en.wikipedia.org/wiki/Columbia_Records :

That's some badass section playing. I'm just so disappointed you didn't say this: http://www.youtube.c...h?v=YPXZlchfduo I bet Hank was watching this when he wrote "Breakthrough".

Albert Dailey (ldr), Art Kaplan (f), Phil Bodner, George Marge (ob), Ray Shanfeld (bsn), Brooks Tillotson (frh), Jack Wilkins (g), Albert Dailey (p, ep, syn, b, d), Lisle Atkinson, Richard Davis, Percy Heath (b), Roy Haynes, David Lee, Mickey Roker (d), Charles McCracken (vc)

Chris Potter is developing into a more interesting player than he used to be, I think. He's still playing the basic same stuff, but he's playing it differently now, at least sometimes. The real ear-opener for me was this one: Made a believer - or at least a non-skeptic - out of me as far as what this man has in him, somewhere, whenever. I'm still in no way a "fan", but...I'm listening now, sometimes, and sometimes getting satisfaction of some kind. What was once a voice in search of something to say might be starting to find exactly that. Or not. But easily dismissed? Not on this evidence. Now, what I don't want to hear of anybody, fan or musician, is this lame "well, that's really technically impressive, but where's the soul?" bullshit, at least as the beginning and the end of the discussion. # 1 because "soul" is very subjective, & # 2 - if all you can say is that something is "technically impressive", what the fuck does that mean? I think it's too often used as a cop-out for "I can't hear what is going on, I do not have an adequate frame of reference against which to confront this music on its own terms, so I'm going to pretend to "respect" it." Well, that's just lame. People need to be honest - music - of all sorts - can get really, really intricate in a lot of different ways, and it's no shame not to be able to feel right at home with all of it. Why not just cop to unfamiliarity, or even - GASP! - ignorance? No shame in that. And the whole "emotional connection" thing too, same thing - not everybody has the background to immediately feel warm and fuzzy with everything. Count me in that camp with a big bunch of the ECM/Euro things of the last 35 or so years. But that's my "problem", not theirs, dig? And it's not really a problem as much as it is a simple difference. It only gets to be a real problem if/when I start going around scolding these guys for not being what I know, or for condescendingly "complimenting" them for their "facility" but questioning the "emotional involvement" of their work, or some coded bullshit like that. Not everything that is "technically advanced" has "content" to match. But I don't believe for one second that I'm prepared to render an instantaneous judgment on everything, either. And I know enough to know that "emotion" is not a fixed quality either. So I try to make a real effort to distinguish between what I dislike & what I don't understand, and I will try to give certain things time to shake out one way or the other (and I'm talking years here, not just a"a few listens"). I think it's the intellectually - and emotionally - honest thing to do, simply because although an unwillingness to do so may well be "normal", a lack of at least occasional challenge to "normal" in an environment where the "status quo" was originally forged in response to such types of challenges inevitably leads to an unjustified complacency, and that to an essentially self-imposed decline. No, "new" is not always progress, and no, "difficult" is not the same as "substance". But which is which (or which is going to be which) is seldom a determination made casual or reflexively, and for damn sure is not reflected in quick cliches and simplified generalizations. Jason Marsalis' only real point is that there's shit going on now that he ain't comfortable with, for whatever reasons. Well, big fucking deal. Welcome to life, bitch. Get used to it. You might even come to appreciate it even when you don't like it.

Quentin "Butter" Jackson The Big Cheese Harvey Milk

As listed, + George Barrow.

It's not baseless, at least how you put it, but it's hardly a recent phenomenon either. Which is why the post/pre-1990 thing is so bizarre. Hell, people were leveling the same charge against Wynton et al a decade before (and still are, although, really, at this point, who cares any more?). Before that it was the excesses of fusion drawing the same critique. And so on. Same old story, really. And also, really, when you get into the realm of "highly technical" music, the problem can just as easily be with the audience as the musicians. Not always, but sometimes. Hell, the whole "bebop is gobbledygook" thing seems little more than ill-informed reactionaryism today, but keep in mind that bebop was in every way a significantly more "technically involved" music than was that from which it sprung, so yeah, some people were just not ready to hear the music inside because they were lost just walking in the door. Sometimes people catch up, sometimes they don't. Sometimes musicians evolve a more focused message as they refine their techniques, sometimes they don't. That's just the way shit goes. I say let shit be, let people do what it is they feel the need to do, and let it take care of itself without all the incessant "sheriff-ing" from the goddamned jazz police.

Well, ok then... Don Byron Bryan Carrott Ralph Peterson Melissa Slocum OR... Bass - James Gannon Drums - Buddy Rich Guitar - Richard Resnicoff Piano - Ray Starling Saxophone - Marty Flax , Quin Davis Ernie Watts , Jay Corre , Robert Keller - Trombone - Bill Wimberly , Jim Trimble , Ron Myers Trumpet - Bobby Shew , Charles Findley , John Scottile , Yoshito Murakami Arrangers - Bill Holman , Bill Potts , Shorty Rogers , Pete Myers , Harry Betts , Bob Florence

That would probably upset me more if I saw it happening to any real extent. As it is, I'd rather worry about if the music is actually good than what it's "called". Really - I think it's a manufactured argument more than a real one. It's good to roil the blood, but then when you take it to the streets....what happens? Who am I supposed to get indignant at? Anybody doing anything outside of the prescribed parameters of the instigator? That's not exactly what I would call an attitude of discernment... Hell, music evolves, and marketers market. In the end, it all shakes out one way or the other. Inbreeding and wanton, unchecked promiscuity both lead to bad places, for different reasons. But I ain't against fucking, ya' know? Because that's what people do.

Terence Blanchard (tp) Donald Harrison (as) Mulgrew Miller (p) Phil Bowler (b) Ralph Peterson Jr.(ds)

I used to work as an aide at a facility for the mentally challenged. There was one guy there who was a HUGE Marty Robbins fan. He always referred to Robbins as "Mister Spotlight". Nobody on the staff could figure out why. This guy was obsessed with "Mister Spotlight" in a way that only a mentally cahllenged person could be, if you get my drift. Finally, one day, he had pulled me into his room and been going on about "Mister Spotlight" for about five minutes non-stop, so I had to stop him and ask him, "Rufus, what the hell is this 'Mister Spotlight' thing all about?" Wellsir, Rufus didn't hesitate one second, He walked over to his stack of Marty Robbins records & one by one showed me the Columbia logo one each - front cover, back cover, even on the lables, every onw of the accompanied by an excited, "LOOK! SEE? MISTER SPOTLIGHT!!!!!!". Rufus was genuinely delighted that somebody had taken the time to actually give him an opportunity to explain himself, and as the years passed, I came to better appreciate how he felt. So as far as I'm concerned, it's a spotlight. Rufus made a believer out of me.

oh, so that's what the problem is!