JSngry

Indeed.

Is this the same guy that was on Curb your Enthusiasm so much this year?

no duds

Looks like a good place to bonk for people who have no intentions of ever having intentions.

Ma & Pa Kettle Math http://www.youtube.com/watch?v=Bfq5kju627c Pigmeat Markham did the same bit too, as only he could. Not much Piggy omn You Tube, alas... I'd half-wager that that bit, or a variant of it, was around in 1800's, somewhere

Plastic Ono Band Plaster Casters The Jimmy Castor Bunch

Now that's a freakin' classic!

Ain't no rushing on Interstellar Space, that's all I'm sayin'...

What would have been really cool would have been if he asked everybody in the house to fire one up and then played "Sombrero Sam" for fifteen or more minutes and then released that on ECM!!!

Haven't looked at it analytically...I think maybe an Andrew Hill & a Dippin' of mine have that aqua coloring, maybe some more...maybe they're all monos from the mid-60s too?

I kept waiting for the story to get a little less...uh...."creepy", but it never happened....guess you had to be there, like, literally. Addicts...what seems cool in your twenties, tolerable in your thirties, and a tolerable annoyance in your forties, after a while it just gets to be, like, take responsibility for your life and grow the fuck up, ya' know? Nobody expects perfection, but at least try harder than not... Oh well, Evans is dead & she feels enriched by the experience. No harm, no foul.

Is the blue more of a turquoise/aqua? I've got some like that, always wondered what the deal was.

Indeed it is, but that is not why it matters. "Cute" is only skin deep.

Yeah, in Jamal's trios, there always this constant shifting of weight, of density. It's never the same trio from beginning to end. Sometimes the bass has it, sometimes the drums, sometimes the piano, sometimes the whole trio. With this trio in particular, you had two other voices who understood what was going on and were more than able & willing to make it happen. Check out how all that little trinkly shit that he does very effectively pulls the music away from "piano solo" and into Israel Crosby-land, a most groovy place to be. I pretty much think you have to listen to any Jamal unit as an ensemble instead of a "piano trio", unless your concept of "piano trio" recognizes that it can be more than just a "piano-bass-drums" vehicle for soloists. For that matter, I also think that the concept of "ensemble" is becoming lost in jazz in general. I mean, who really gives a fuck about the 2nd tenor part to a Thad Jones chart, or a trombone part in the middle of of an Ellington sax section, or a minor 16th in a Gil Evans chart, even though those are among the crucial things that make that shit what it is? Everybody's just soloist this, soloist that, good groove this, good groove, that, energy this, energy that, pocket here, pocket there, everywhere a pocket pocket. Well, ok, that's all good, truly, but it's not all of the good! Ensemble. Group. Unit. Call it what you want to, but any time more than one peoples play together, there are decisions being made about how to do it. And the shrewd ones think about what the possibilities are and what the effect of the possibilities will be in relatively "scientific" terms. Jamal was/is a shrewd one indeed!

Jamal's not about "soloing". Never has been. As part of a well-balanced jazz diet, I think Jamal's concepts are damn-near indispensable. As a steady diet, or even a dominant flavor, I don't think I need all that. But the guy has some shit happening in terms of group organization and such. Compare what he does to any other number of piano trios who might have an intro and an outro and then everything else in between would be straight AABA, or at best, some little reprise of the intro as a bridge between solos. His whole repertoire is full of stuff like that. "Soloing" is so not the point! That's what Miles dug, the concept, up to and including the use of space as an organizational principle and dynamics as a color unto itself. That shit was fresh then, and its lessons are still in need of being heeded today.

The Rookies The Veterans The Retired

Ronnie Zito's brother, right? Good writer, sorry to hear about this.

He was still under contract w/Prestige, right?

The very best part of that album is that you can hear the band talking amongst themselves. At one point, one of the saxists asks another one if they can borrow a reed. Imagine that!

That would be ndtitanlady. She's still making good stuff:

Cummingtonite:

He plays more on top of the beat than usual on this one. But none dare call it "rushing", do they...

Sonny didn't "leave" another label to "come to" RCA. His last studio date was for Contemporary, in October 1958. The sessions for The Bridge were done in Jan/Feb 1962. In between, during the hiatus, there was no contract. There was, iirc, a bidding war of sorts to sign him when he came back to public performance.