JSngry

http://www.youtube.com/watch?v=ITvHrF3G9wY http://www.youtube.com/watch?v=QZmv8E6bClc http://www.youtube.com/watch?v=t7bkbZjwQzs

http://www.amazon.com/Jon-Gnagy-Original-L...w/dp/B001LR25Q8

http://www.tseymour.com/gnagy.html

First listen is as of this writing. I've been busy, started a new job w/new hours, still getting used to that, but I don't think I'm too late, so... the usual thanks and disclaimers in place, let's go! DISC A TRACK ONE - I certainly recognize "Cold Duck Time", but that's about it. The sounds and feel is not unlike this old live Roger Kellaway w/Tom Scott PJ side I have called Spirit Feel. But this is not that. The tenor player sounds "studied" if you know what I mean, a little too much thinking-to-feeling going on. Which is not to say that thinking is bad, or that good players don't think, just that the thinking shouldn't be quite so obvious as it is here. The piano player is ok, though. I've certainly heard worse all the way around, and nobody sounds like they are "hopeless", if you (again) know what I mean. If you could still work all over the place all throughout the year, whatever problems there might be here would work themselves out, I'm sure. TRACK TWO - Seems like I've heard this one somewhere along the way, but god knows where... is that Ron Carter on piccolo bass? No, don't think so.... Bobby Bradford? Thoughtful player, fersure...same for the altoist...it's all quite grounded, sure of it's identity, but the engineer and/or producer did nobody any favors. I like it well enough. TRACK THREE - More sincere than distinctive, and I'm ok with that, at least in this case. Don't ask me why, because I couldn't answer you. Maybe because the tenor player plays on the high end of the pitch (those who don't get it would just call it sharp, but...), and I'm most always ok with that too. That, I could tell you why, but this is neither the nime nor the place. For some reason I'm thinking Chico Freeman, but more in terms of sound/pitch than vocabulary/execution. Hmmmm..... Possibly...Azar Lawrence? But so much less energetic than I've heard from him. But that sound and that seriousness/sincerity, there's not that many choices, really... TRACK FOUR - Well, that's "You Gotta Have Freedom", a Pharoah cut from the 70s that, believe it or not, has become a big favorite in "Acid Jazz" circles. Kinda sounds like an older more tired Joe Lee Wilson on vocals. Actually, everybody sounds older and more tired...but sincere. I am, however, not as ok with that here than I was on the previous cut. But hell, I second the sentiment wholeheartedly! TRACK FIVE - Dick Griffin? Phil Ranelin? Not Grachan, although similar in concept - but only at times. Definitely a trombone-istical player. Also definitely hitting on that Strata-East-ish vibe...I should know the trombonist...I like this one quite a bit, best one so far, whomever it might be. It's not "great" but it is satisfying, so hey. TRACK SIX - An interesting composition...this ain't some MJQ, is it? That vibist's tone reminds me so much of Bags...and the composition, sounds like a John Lewis thing. Not too many drummers besides Connie Kay could be that disciplined either...if it ain't the MJQ, it's something that could have never come into being w/o the MJQ. Five times through in a row now, and it gets better each time. Very subtle, but very musical. TRACK SEVEN - Ok, should be Ornette, but...NOOOOOOOO!!!! It was going along fine wntil the groove-shift for the guitar solo. things kinda went downhill after that, got all "clever" and shit. Too bad. I dug the clarinetist's solo, but overall...I'm all for trying, but sometimes it's better to just do. TRACK EIGHT - I like the tone a lot more at the beginning, w/o vibrato. Helluva player, but that vibrato kills it for me. Vibrato is highly personal both in its use and in its reception, and I just don't receive this one. It telegraphs "sincerity" to me, and I'm of the school that believes that sincerity speaks for itself and does not need telegraphing. But somebody else can hear it totally the opposite way, and neither one of us would be wrong. But for me, no thanks. TRACK NINE - Another one I think I've heard before somewhere along the way. No bullshit here, that's for sure! Not much to say besides that - bullshit-free music. Take it where you can get it! TRACK TEN - If soap operas were really hip, this is what the music would sound like. And I mean that as a compliment. TRACK ELEVEN - I'm having problems with this one right away, a little too self-conscious, I think. Let's see if it gets better as it goes along...no, not really. It all sounds like "jazz about jazz" instead of just jazz, or hell, just music, if that makes any sense. TRACK TWELVE - This is shaping up to be everything the previous cut is not. I'd have to guess John Carter, but just because of the tone and a few things here and there, but it is just a guess. The clarinetist is infinitely more deeper than the tenorist, but that is not because the tenorist is a lightweight or anything. He sounds fine to me. The clarinetist just seems to be deeper, period, just as a human being. and I know that's an awfully presumptuous statement to make just of of one unidentified piece of music, but sometimes music don't lie. Then again, sometimes it does. But I don't think it does here. DISC B TRACK ONE - Mal Waldron? Nah... He/she keeps it going in the left hand, hey, I like that! The whole thing sounds like a dance, like the hands are dancing on the keys. I like that too! I would like to hear more work by this pianist to see if this is an anomaly or pretty much their bag. But, yeah, I hear the whole piano-centric thing happening here. Duke, Monk, Mary Lou, Waldron, Herbie Nichols, etc. Always a pleasure to hear that. TRACK TWO - Sounds like a de/re-constructed Herbie Hancock solo...not bad, very nice, actually, but... I want more. My problem, not theirs, no doubt. TRACK THREE - Maybe I'm jaded. Or old. Or just plain ol' tired. But...I still want more. I was actually disappointed when they hit the head, "Afro Blue", I'm like, "oh.....ok". Whatever hope for...newness there was just went out the window. A lot of very familiar tricks and patterns and ideas here, just "modernized", kinda. Ok, those notes have probably never been played before or after in that exact sequence and combination, but...in different sequences and combinations, oh yeah. If that's all it takes, just not playing exactly what's been already been played for several generations by now, then....never mind. My problem, not theirs, no doubt. TRACK FOUR - ECM-ish, Kenny Wheeler-ish. I thought I heard intimations of "I Wish You Love" in the guitar intro, but no, I guess not. Nice enough, but I wanted a drummer here on this one, or at least some percussion sprinklings, just something to three-dimensionalize the sound field, since everybody's so damn "inward" looking in their sounds.. But I guess they didn't wanna do that, and it's their music. TRACK FIVE - DAMN, Ray, you sure like the vamping-ish bassists, doncha' now! I'm trying to get the point of this one, and it seems to be "hey, we all got quick reflexes", and indeed they do. But the vocabulary is...familiar. so as dazzling as it is, and make no mistake, at times it is dazzling, I'm left with the nagging feeling that, hell, you're playing a 40-ish year old language (check out all the old live recordings of "Agitation", etc...), what excuse would you have, at a professional level, for not having quick reflexes? But perhaps I expect too much. TRACK SIX - Where are you going, my little one, my little one... oh, ok, that's not it. But still, you only get one chance to make a first impression. If Jan Garbarek would have come in, that would have been really cool, But he didn't. TRACK SEVEN - I like the drummer(s?), he (they?) sounds like he's heard some modern drum'n bass shit and brought that to his jazz table. Good for him, for real. It ain't the 20th Century anymore, fig?. "Norwegian Wood". Buddy Rich did it too, and I liked the drummer on his version too. So drummers, take note, if you want to make a good impression, this is the tune, ok? And just when I was getting ready to bitch about the pianist sounding more dated than anybody else, here comes a little OOMPH of electronics. This is, for me, another case of nobody sounding hopeless and me wishing for a world where folks like this had ample giggage opportunities, if only as a sideman, to really hone their shit. So, ok, maybe overall the whole thing kinda lags in terms of being as "now" as it appears to want to be, but it's a strange time to be a creative jazz musician, and has been for over a quarter-century. So here's hoping that all works out well for them. they sound like they deserve it. But I do think they should learn to self-edit a bit. this was just too long, period. TRACK EIGHT - See, it's all about the drums. There's been enough hip shit done in programming over the years that it's asking quite a lot of just one drummer to get there with all that. And like it or not, that is the "sound of now", or at least one of them. Multi-layered drum patterns/texture (Kenny Dope said he used something like 5 different hi-hat sounds/samplesd to create "The Nervous Track", and if you listen, it's true). But you add percussion, or get somebody with massive chops and who thinks outside the box, well, then you can shake it up and bring more live. A casual observer might call this "Latin-Jazz", but it's not, not really. There's certainly the "Latin" element present, but this ain't old school guguanco or anything, not overall. So, it's nice to hear something not as trapped-in-time as so many things seem to be. I could find any number of faults with this cut, but none of them outweigh the freshness of the rhythmic concepts. and yeah, it is kinda "70s-ish" but not rigidly. so kudos. And to those who would counter that "Now" is not and end-all and be-all, I would counter-counter that,, what, "Then" is? TRACK NINE - And maybe you could get this played in one today... Hey, man, sorry to be such a bitch about some of these cuts, but...you know...the good stuff was really good, and it all made me think, so I count that as a positive in the end. Thanks again!

I've never heard it, or of it. I found it here: http://nicealbumshameaboutthecover.blogspot.com/ Great site, btw.

Ron's son, apparently! http://www.ronfeuer.com/us.htm

Hmmmmm..... just looked, and my Brubeck does say mono.... I bet yours is older.... Something else I remember about mine is that it came in a plastic bag inner sleeve with a perforated top that you had to tear off to get open. That was....quaint.

My question as well...

http://www.organissimo.org/forum/index.php?showtopic=50698 Moderators, please combine threads?

Full article here: http://blog.allmusic.com/2009/3/18/shes-on...-original-bess/

Is it one l.ike this? I've got some with that type label, one of them's a Brubeck, actually. Anything Goes, mono. found it in an old TG&Y store in Kilgore, Tx one night on the way to a Lent service. Every record has a story, yes sir.

No feedback whatsumever. The punkassbitches....

the Lovely and Talented Brenda

Hey, better lucky than good sometimes, eh? We'll take it however we can get it, yessir!

Damn B, you got a log in fo that site, eh? Scared of YOU! Seriously, big thatnks. LTB's asleep right now, but I'll show her this first thing later this AM.

Didn't Gary Bartz make his uncredited debut on one cut off the Blakey?

Hey, the ones who weren't already dead...

From: http://en.wikipedia.org/wiki/Music_Minus_One Now this kinda tripped me out: http://www.musicminusone.com/CompanyInfo/Licensing.asp etc....

The first, yes: http://www.musicminusone.com/Mainpages/det...964&catID=0 The second, apparently not... OOPS, that is not a Rodgers/Hart-only product... There is this one, but Duvivier is not listed: http://www.musicminusone.com/Mainpages/det...476&catID=0 It looks like not all MMOs have have been transferred to CD in their original configurations. Some yes, but some no.

Didn't he buy up Inner City & Classic Jazz at one point?

And fwiw, Dan, your conclusion is one which we have drawn as well, but her boss wants "an answer" tomorrow at 8 A.M., and....enough studies of specific controls over several studies comes up with the 15-20 day average, almost always, so that's what she's going with. So Kudos to Mr. Bond for the early call as well! Hell, she works for Blue Cross. You'd think they'd already have shit like this on file, right?