JSngry

I've not yet heard a compelling argument for replacing my Bluebird LP box. Otherwise I'd have been all over it by now.

Besides, it's next to impossible to inhabit a Mingus tune as anything other than a Mingus tune. Probably even more so than Monk.

Hell, there weren't that many people who would/could play it when he was alive. And I don't think the talent pool has gotten deeper since then. Let's face it - for most "jazz musicians", then, now, and probably forever, it's ultimately about the blowing. And Mingus didn't write no blowin' tunes, not very many.

Well, ok, you're welcome but that's the "best" song on it, so... the rest are not as immediately appealing.

Ron, I think that you will be well-pleased. Who else wants to be well-pleased?

Up - for people to buy. It's that good!

Or enough drive in your hard drive!

Rachel Z Rachel Ray Rachella Parks http://www.myspace.com/rachellaparks

I bet you don't have to worry about a triangular-shaped chunk of your download falling off. Or do you?

Al, you might want to try Herwig's "the latin side of..." sides before you write him off as an unrepentant avant-garder. They're totally inside and totally grooving, not unlike Woody Shaw meets Eddie Palmieri. Besides, I went to NT w/the guy back in the day, and trust me, he's about as "inside" at the core as you could want. Definitely somebody who starts inside & works outward, that's him.

Please!

Noun as in "fact of life", not noun as in "style". Oh god no! Art Lande on #2?

I feer that I dun been a little laggardly with a-gettin' to this, but we have had some injury in the Sangrey household & my joints still be a-achin' like all git-out. Still, enuff's zenuff, so, the usual thanks and disclaimers in place in perpetuity, away we go! TRACK ONE - Clever & crafty. Fine playing indeed, but I wonder about having all those chops and wanting to put them up against a four-on-the-floor bass drum & and a sprung shuffle beat. That bugs me for some reason, but it's my problem, not theirs. Otherwise, you can sure tell that they've practiced a lot and played a lot of sessions! Time frame is probably 80's-early 90s? Pretty heavy-duty rapid-fire action going on w/the guitarist, and a pleasant ideas-to-patterns ratio. TRACK TWO - French horn? Moody/thoughtful, although a mood & some thoughts I'm just not feeling at this listen. Again, my fault, not theirs. French hornist is making some pretty broad interval leaps with confidence, kudos for not half-steppin'. Pianist is well-schooled. TRACK THREE - I'm feeling this one more than the first two. The older I get, the more I appreciate cadences, rhythmic as well as harmonic. Don't need "literalness", just a feel that shapes are being considered and formed and confronted along the way and that one is not just trying to get somewhere by avoiding contact. This one seems somewhat familiar, but nothing jumps out. A little goes a long way with regular size humans like these folk would appear to be, not giants, but this is neither too much nor too far. TRACK FOUR - No. Mingus-y for all the wrong reasons in all the wrong ways. Or so it seems to me. Same with the pianist's recurrent early-Cecilisms. TRACK FIVE - Kenny Wheeler? Dave Douglas? Definitely a piece with form! I applaud the sincerity, but the drummer bugs me. I don't dig that ricky-tick shit. Baby Dodds was so NOT ricky-tick. This type drumming is post-modern corniness. No idea who it is, or of this is always the feel with which they play, so I'm specifically talking about just here, this one tune. But I hear more and more of it in more and more places, and...I don't like it. Swing is a noun, not an adjective! Nevertheless, a tightly executed piece played with vim, vigor & vitality. Plenty worse has been done, and if I "appreciate" the drumming more than try to climb aboard it, it's ok. TRACK SIX - Why does this remind me of Gabor Szabo w/Chico Hamilton when it's not at all like it? Hell if I know. But that's a good thing. The beat...with that bass line, I'm hearing a deconstruction of On the Corner-ish with the intent of bringing it back to one of its many homes for a family vacation. And it's working so far. This kind of stuff is not at all easy to play over if you're not organic at some level to the source. I've done some of it in the past, and it's a whole 'nother zone, as it should be. Nice cut. Not too long, almost too heavy towards the end, but taste prevailed. Gotta love it when that happens! This ain't from Miles From India is it? Naah... TRACK SEVEN - OBEY YOUR THIRST! This record should be MUCH better known than it is. Perry's not REAL "fluent" over the changes (compare his line w/Barron's), but he is totally "in there" as far as hearing and feeling the music as it goes along, so hey. Take it! TRACK EIGHT - I dig what they're doing and the hows & whys as well, but I'm just not into it right now. A few years ago, yeah, but now? Maybe it's me, maybe it's that this type thing is on its third or fourth (or fifth?) generation and has evolved into a language just as fraught with cliche as any other. Still and again, my problem, not theirs. TRACK NINE - Don Cherry w/Arthur Blythe's band? Or are there two tubas? I like the pocket of this one, not ricky-tick, some real swing, and when tuba walks, tuba WALKS, no waddling. Well, that's not Blythe, but that is Cherry. TRACK TEN - Huh? Old school tunings and concepts, new-school recording... No idea who it is, but the drummer sounds freakin' great. That tuning and precise enunciation/articulation....beautiful! The rest of it sounds a little...not quite real, but that drummer (geez, is that Blackwell?) makes them unnecessary, really, except as something to be there for him/her to play off. TRACK ELEVEN - Something....quirky about this one...the drummer's pocket is either rooted in Vernell Fournier or hip-hop (or both as same...), and the pianist's right hand is not that of a "jazz" pianist of these times...the whole thing says "New Orleans" to me somehow. TRACK TWELVE - Well hey! My first exposure to "early" Cecil...I remember getting this on the old BN "paper bag" two-fer, getting blown away by how hard it swung, and then a few weeks later reading somewhere how nobody involved really thought it was all it could have been, even that Lacy had to be in a different room and play along with the trio getting piped in on a speaker! Oh well, just goes to show you that all we know is all we know, so don't ever think you know unless you can prove otherwise, eh? But yeah...I gotta love this, even though it's apparently not worthy. Call me a pushover. All right Mister Barton, an enjoyable excursion indeed. Much unfamiliar only one thing I disliked altogether, and even a few familiarities. Works for me. Gracias beaucoup!

Scooby Doo Mel Torme Judy Garland

Judge Crater D.B. Cooper Jimmy Hoffa

Sargent Schultz Corporal Klinger Private Benjamin

"fell off"? A triangle-shaped chunk of your record fell off? Damn dude, where'd you buy it, a leper colony?

...man, this motherfucker (and all the people from his school) WORKED @ their craft - entertainment. Jive it might - or might not - have been, but there weren't no half-steppin' of vaingloriosity allowed. You took the stage, baby, you WORKED. http://classicshowbiz.blogspot.com/2009/05...ammy-davis.html Let us give props where props is due.

Mudbone T-Bone Walker Parker Bohn: http://www.parkerbohn.com/

Rollo's last name was Larson? I did not know that!

But he did szit in, and it was amateurishly recorded, although not particulalry well.

Topsy M. Durham http://www.thejazznetworkworldwide.com/profile/Topsy Kim Parker Carol Tristano

Probably was. Everest became the later home for the Esoteric catalog.