JSngry

Hell, lots of people still see musicians as oddities. As Mort Sahl was fond of saying, "onward". If we wait for people to catch up, we might as well pitch a tent and by a cemetary plot next to it.

What really bummed me was the Glen Campbell shit. I mean - it's LA, late-60s, you got some great singles, you got a great talent in Campbell, it's Capitol records and a time where album consciousness in very much in vogue, and you're gonna waste it on one or two transcendent singles and fill up the rest of the album with lower grade country-pop pap? I mean, ok, yeah, it "worked" as product. But Glen Campbell's talent as singer and guitarist could have been exploited in far more musically substantial albums. Oh well, that's Show Biz.

With vegetables? Maybe it's a fiber deficiency or something, ya' think? Oh, Sheila E...now Sheila E can play. Comes from a family of players. That Prince stuff was pretty good at times, but Sheila E had a whole 'nother life before and after that.

After Sheila E, Sue Evans, & Ruth Underwood, no over-40 type should bat an eye either... hell, back in the 70s, in Denton, there was a woman percussionist named Lee Ann Harris who was the best in town, period. Her boyfriend was the best drummer in town too, period...sessions at their house were always a blast...but then they broke up. I don't think it's "women musicians" that "guy musicians" have issues with. I think it's just women in general. And, every yang having its yin, vice-versa. Yin & yang - there's a natural tension there, as well as a natural harmony. Dealing with dealing with that is pretty much a life's work.

Other than to know that it's been going on, right? Never quite gotten her solo work...got any insight that might help?

And is it just me, or does the internetz seem to be a haven for people who raise a provocation where there was none and then get bruised about there being a provocation? Then again, maybe that's just real life... And oh yeah, back on topic - one more 'gin for Francesca Tanksley!

Hell, I've been tired of that - for years! Really, it's one big joke, this notion that We Can Change The World Through A Jazz Bulletin Board. Interesting/useful information can be exchanged, product can be moved, gut other than that, it all comes down to sitting around talking bullshit to one degree or another, even when it gets "serious". So "pettiness" is pretty much a forgone conclusion for anything not dealing with hard facts or cold cash. It's just a question of scale from thread to thread. Don't get me wrong, I love it, I'm an incredibly petty person myself, but hey, let's just keep it real, that's all I'm saying.

Much like those of this thread, eh? Hey, here's one - favorite JAZZ songs about fruit. Watermelon Man, Strange Fruit, Apple Honey, there's potential there AND it's non-gender-specific!

You know, if I was in Confrontational Spouse Mode, I'd retort that there was really no point in starting it either, but that didn't stop you from doing it... But LTB has been out of town now for almost two weeks, her 92 yr old mom had quadruple bypass surgery, and it'll be a while before I muster up the confidence to go there again.

Ok, 90% might be high, but...we're talking about representing "how (the artist) is heard and immortalized"...well...there's a lot of choices made in terms of repertoire, accompaniment, engineering, mixing, sequencing, etcetcetc into which most artists have little to no input. Lester Young wanted strings, Granz didn't. Granz won. Miles wanted the Bartz/Jarrett band recorded at Paul's Mall. Columbia didn't. Columbia won. Horave Parlan wanted to release an album w/that Ronnie Boykins tune, but Lion said no, not if I don't get the publishing, which he didn't. Lion won, at least for a long time. Don Schlitten, I've heard, was always suggesting tunes for cats to play at their sessions. No biggie, but still...maybe not everybody would have recorded all those bebop tunes if left to their own devices. "Vault albums" and/or "contractual obligation albums", anybody? I'm noit saying that all "production" & "supervision" is bad, obviously far from it, just that if you only recognized as "legit" all recordings where all the decisions about what was heard and how were made by the artist alone, we'd not have a whole helluva lot left to listen to relative to what we have now. I remember a time when the common word among musicians was that records weren't the real deal, that you if you wanted the whole picture you had to get it live. Now we got cats saying, no, live shouldn't be heard unless the artist approves. You can argue that financially, but esthetically, ain't no way you can have it both ways. And from what I know, the old-school musician line was the truth. Then again, jazz has evolved/devolved into less an "in the moment" experience and more a "project" music/mentality. So there you got a point. Wwhen the package is the package, them's different rules for a different game. But Sonny Rollins' personal feelings be damned (forgive me!) - if all I hear between East Broadway Rundown & Next Album is...nothing when there's this documentation of some brilliant improvising (which still needs pitch-correcting, btw), then fuck me for not caring enough about what Sonny Rollins really is outside of a "packaged commodity" to check it out some kind of way.

Additional scene at the bottom of this page: http://www.cannonball-adderley.com/movies.htm

OOPS! There goes about 90% of recorded jazz!

Anybody named Yvette, male or female!!!

To be filled in later, I'm guessing...problem is, they'll show as edits, not new posts, so you're gonna have to check in yourself to see when new content has been added.

Is that the same gig that came out on Magnetic?

Oh please - Stitt's discography is full of sessions where he coasted - often blatantly so. Granted, his coasting was often at a level that most player's would feel blessed to reach once or twice, but still...let's call it what it is, which is cranking it out for a paycheck. Nothing wrong with it, but let's call it what it is, otherwise if it's all good, then what the hell does "good" really mean anyway? OTOH, agree w/you completely about the realness of later Pepper. I'm on record here as favoring later over any other period, actually. I don't begrudge either of those cats their direction, but please - you're supposed to be good. so excuse me if I don't get all excited about just that. Expert but "uninspired"...not a trend I'd like to encourage for anybody in any field, except maybe robotics.

Yeah, I get that. I was just expecting a little...less formal party. Sounds like tuxedos to me. I'll give'em this though - that's one tight band. Everybody role-plays to perfection, and I give fullest pro props for doing that. That's a skill all unto itself.

Impressions?

http://www.jerryjazzmusician.com/mainHTML....ard%20Carpenter http://jazzportraits.blogspot.com/2005/12/...-parts-1-2.html Hmmm....another Carpenter-Mundy/Solid State date...

Mongo Santamaria Columbia albums - Ok, yeah, the songlists speak for themselves, but you figure w/Hubert Laws and/or Sonny Fortune on board that there would be some element of "rising above" to be had. Nope, guess not. Glen Campbell late-60s Capitol albums - Some masterpieces by Jimmy Webb and...nothing else. Who let that happen?

Sonny Henry was a guitarist who wrote "Evil Wyas", first recorded by Willie Bobo (w/Henry), and later, of course, by Santana. I also see Cuba Gooding's name in that list of song properties...perhaps this has something to do with "Everybody Plays The Fool"?

Contrast & compare:

WHOA! Louis Jordan would sometimes do the same thing, put a tune in his wife's name to protect some of the rights...

Gladys Bruce must've been a catch-all pseudonym for Mundy/Jacquet.

And Joe...Joe rides the groove, even as he's mixed all weird early 70s reverbus maximus, pulledicuticus WAAAAAY back in the mixicus...bummer. Marvin Stamm sounds good. Marvin Stamm always souds good. Hey. Yeah, I know waht you mean...I'm just hearing Joe going all aout over these grooves, and Iit's only in my inmagination, but I can go the full route too, once I get over what I want to hear...