JSngry

The Backroom Bandits - You Don't Know What Love Is Actually Kurt elling's version from Flirting With Twilight, still keeping the same tempo & basic feel, just tightening up the beat to where it's more like a Jamal/Fournier type fall-into-a-deep-mellow-trance thing. Outstanding. And I'm no "fan" of Elling's, but damn does he sound good here.

I doin't know about all that coded communication stuff, but anybody who paid attention and wasn't culturally predisposed to ignorance to the matter knew (& knows) that the Lennon/McCartney chord progressions were a subtly unique language.

It's a very good album, I think. Not jazz, not pop, not soundtrack, all of them rolled into one and just happening on its own terms. Plenty of texture, great writing, great playing. Tell you what, Pat Williams (or as he now calls himself, Patrick Williams) is not somebody to trifle with. No siree.

You rule, Rod! Yeah, the show would begin it's sign-off with a fade-in at the 1:29 mark and play it out to conclusion, iirc, with the announcers inevitably finishing right on cue for that final church cadence. And on the intro, Gene Elston, who had one of the driest, most urbane voices & deliveries in the history of baseball radio, would not speak until after the fanfare. He'd wait until Stamm started playing & the vibe got all martini, as, after all, befits a post-game show. Wow, Gene Elston, Ricky Goode (Hey, Ricky!), & a 1968 (?) Pat Williams cut all converging out of nowhere in 2008. Lord, please don't take me anytime soon, this is waaaay too strange (and fun!) a trip to check out on right now!

Also available, it woul appear, on this Japanese collection: http://www.amazon.co.jp/RESORT-MUSIC-%E3%8...9/dp/B000065E6C So there. James Brown, Brigitte Bardot, Roland Kirk, The Caterina Valente Singers, and, of course, Bubbles. Who was a cheerleader.

Here it is on a podcast: http://whyfidelity.libsyn.com/index.php?post_id=148122 or http://media.libsyn.com/media/whyfidelity/...fidelity_49.mp3 Check out what it s compiled with: Hey.

I wish I could... It's one of those things that "squares" can dig at face value, those "in the know" can dig at face value (with a totally different face), and "hipsters" can absolutely, unambiguously hate. The joke, I think, is on all of them! Bubbles Was A Cheerleader, dig?

Late 60s Astros radio broadcasts (of which I listened to damn near every one) weren't truly over until the post-game show (the Astros Wrap Up Show, I think it was called?) came and went. The show featured a most catchy them played on what I have since come to know was a piccolo trumpet. Now, my buddy Ricky Goode (Hey, Ricky!) were both big Top 40 buffs as well as dorkus maximus baseball geeks, and many was the time we would talk about that theme, commenting on it's unique quality, how it just had a...thing to it, at once happy and smartass, hip & corny, and...just who the hell was it anyway? We actually used to whistle it in classes when things got boring, just to piss the teachers off. And it worked, one particularly cranky science teacher knew it from the Astros games and made it a point to say that that was the most obnoxious song ever written, which should give you an idea just how much of a thing that song had. Well, hell, that was 40 years ago, and I ain't seen Ricky Goode since LTB & I got married in 1983 (rumora abound as to where he is/was, etc., not all of them "pleasant", but all of them believable...). And I had totally forgotten about that song, although its aesthetic of smartass/hip/corniness is one to which this day I have an abiding affection, often against my better instincts. As for what it was, bothering to figure it pout was an even more lost notion than the song itself. Life takes some odd twists and some even odder turns, so it shouldn't be unusual to note that the last week or so, I've availed myself of an opportunity to explore the back catalogue of Pat Williams. Threshold is just a bitch of an album, melding pop-culture and jazz in a way that is unforcedly Mass Acceptance ready, which probably explains why it was such a commercial flop. But oh well about that. Heavy Vibrations is one I'd found in the cutout bins a long time ago, and it's cool for what it is, but Think & Shades Of Today are the ones I was most eager to check out, especially the latter. Turns out that they're bot about exactly what I thought they'd be - hip-corn, or vice versa. The type of think that was completely "unhip" back in the day, but now in retrospect...it's still unhip. But it's not, if you know what I mean. It's really neither hip nor unhip, music like this. It's just....wack to think of the investments of time and money and peoples to make what are essentially "easy listening" albums and twist the shit up this much and still have it remain...essentially "easy listening". My mind reels at what everybody involved was thinking. But the playing is top-shelf, as is the writing, and in the end, it is quality, quoite high quality, in the service of warping commerce. So hey. Anyway....I get to the last tune on Shades Of Today, a Williams original called "Bubbles Was A Cheerleader", and right from jump, this shit sounded familiar. The into over, the main theme commenced, piccolo trumpet, and....HEY - there it was, the Astros post-game show in full splendor. Pat Williams, warpedass easy listening, Marvin Stamm, the soundtrack of a forgotten youth suddenly right there. Bubbles Was A Cheerleader. Yeah, don't I know it. Suddenly, it all made sense.

I think it's easier to get a grip on something when it's "over" (or at least winding down) than it is while it's still growing and mobile. It's true of people, ain't it? I mean, what does it say that so much formerly obscure material from 20-40 years ago and such is not making its way into "common currency" (a relativistic term used fully aware) if not, "hey, we didn't have time for you then, now we do." And most of this stuff is more "interesting" than it is "essential" (and that is in no way a dis), so arguments of economic etc limitations preventing dissemination are only gonna go so far. No big deal, really, it is/was a social/creative/spiritual evolutionary phase, and the fact that now people can evaluate it for what it was is a true credit to the fact that it was what it was, and not some esoteric fringe goofiness. It's a given, and if not for everybody, then for enough people to form a community, and afaic, the mere ongoing existence of a community is at least important as its size. The gift has been given and received. So, now what?

34 now that I actually have: New grass- Albert Ayler, Impulse 1968 Ballad, blues and Bey- Andy Bey, Evidence 1996 Free for all- Art Blakey and the Messengers, Blue Note 1964 Live in Paris- Circle, ECM 1971 Leapin, and Lopin'- Sonny Clark, Blue Note 1961 Soapsuds, soapsuds- Ornette Coleman and Charlie Haden, Verve 1977 Love energy- Connie Crothers and Lenny Popkin, New Artists 1988 Miles Davis featuring BarneyWilen Amsterdam Concert- Miles Davis, Lone Hill 1957 Luis Gasca- Luis Gasca, Blue Thumb 1971 Poetry- Stan Getz and Albert Dailey, Blue Note 1983 Fly away little bird- Jimmy Giuffre, Paul Bley and Steve Swallow, Owl 1992 Memorial volume 1 and 2- Wardell Gray, OJC 1949-52 The fat man and the hard blues, Soul Note 1991 Songs for distingué lovers, Billie Holiday, Verve 1957 The survivors suite, Keith jarrett, ECM 1977 Gary Burton & Keith Jarrett- Keith jarrett and Gary Burton, Atlantic 1969 Consummation- Thad Jones and Mel Lewis, Blue note 1970 Kenny Kirkland- Kenny Kirkland, Grp 1991 Another shade of blue- Lee Konitz, Blue Note 1997 Turkish woman at the bath- Pete La Roca, Douglas/Fresh Sounds Records 1967 Sugar and spice- Guy Lafitte, RCA Victor 1972 The world is falling down- Abbey Lincoln, Verve 1990 Duets- Carmen McRae and Betty Carter, Verve 1987 Bright size life- ¨Pat Metheny, ECM 1975 Mobley's message- Hank Mobley, Victor Entertainment 1956 New dance- Anthony Ortega, Hatology 1966-1967 Belief- Leon¨Parker, Columbia 1996 The cutting edge- Sonny Rollins, Milestone 1975 Blacktone legacy- Woody Shaw, Contemporary 1970 The cat and the hat- Ben Sidran, A&M 1980 Goin' home- Archie Shepp, Steeplechase 1977 Stuff Smithe, Dizzy Gillespie and Oscar Peterson, Verve 1957 The dark tree 1 & 2 - Horace Tapscott, Hatology 1989 Unity- Larry Young, Blue Note 1965 I love lists, I love having, and I love counting. More threads like this, please!

It's not the notes for me as much as it is the irrevocable gravity, literally, of the tone & the shape of the lines. The tone, you can just hear the upper overtones being pulled back down into the tone, just as you can hear the line, how every time it starts to go up, it only goes so far before it inexorably begins to come back down again. Hell, for that matter, there's gravity to his time as well. In his early days, he played over the time (I would say on top of it, but that's a phrase that usually implies rushing of some sort, and that is definitely not a Prez-ian quality), but at htis point, he's playing underneath the time, like it's a river and he's part of the river that's flowing right on top of the river bed, moving, yes, but at a speed that is as slower than the top water as it is nevertheless synchronous with it. Lester Young was a serious man.

It's been on a few "budget" labels (cassette & CD) over the years & was (is?) on Celluloid. Good, solid, about what you would expect.

Whoa...

I've got 23, and it's refreshing, if ultimately as meaninless as any other of these type lists, to see a perspective that's post-1965 and predominantly, for lack of a better term, "European". Just goes to show you how much great music this continuum has produced over its evolutionary lifespan.

4 Seasons on eBay w/Buy-It-Now of $28.50: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...ME:B:SS:US:1123 No connection to/knowledge of the seller, etc. But this is one album that continues to deepen in meaning for me, still.

That concept just....boggles my mind. I mean, of all the ways to store data "impulses", a TV tube? Wow, that's a trip.

So Billie did the show at least twice, then, eh?

http://www.organissimo.org/forum/index.php?showtopic=44244

Not until now, but it looks interesting. Thanks for the tip!

Pretty much impossible to find. Which sucks.

Should have been the Candid session: Yep, that's it.

I believe that I've recommended Mike Ladd's work here on several occasions. He's somebody who I try to stay current with, definitely. Mike Ladd is a baaaaad man. I just like what Bob's done here, that's all. It's kind of "parallel universe" music to me, something that's real and not real at the same time. Now, Belden's Turnadot, that's totally parallel universe music. Puccini as late-60s/early 70s Miles (or vice-versa). It's at once wholly, shamelessly derivative and wholly, wackedly original. I got room for some of that, I do.

No, it's not "like" Bitches Brew, not literally, but still, the vibe can take you to a much-similar place if you don't get hung up on that lack of literallity.

And also want to add that the "creative process" does tend to take one out of the realms of "normalcy" from time to time. It just does. But I do think that one has an obligation to apologize or otherwise "make right" whatever wrongs one might participate in when this happens. Often times, it's not the behavior itself that pisses me off, it's the failure to cop to it. And btw, every bit as irritating as those whose behavior gets distracted by the creative process and don't/won't/can't cop to it are those who will adamantly refuse to accept that it can happen in the first place. These are the type of people who will not accept the fact that if you get an idea & are intently trying to focus in on it, that an interruption for something not life-threateningly urgent might be responded to with less than full grace, and no, it's not anything personal. Sorry, but it ain't like a faucet, ya' know? There's never really an excuse for rudeness, but sometimes there is a reason, and when it happens, if both sides can accept that reality and just....understand what the deal is/was, it can be copacetic. But not everybody can go there, on either side of the fence, and that's a drag. Tell you what, between the people who won't cop to their own lapses and the people who are hellbent on not allowing anybody to have any, hey, that's enough to make anybody look elsewhere for real estate.

I think you mean attempted to be justified, no? Truthfully, that's the saddest line of B.S. that anybody can pull, the attempt to wrap their developmental immaturity in the cloak of "artistry". I've seen that firsthand more than once, and have cursed it out, often rather bluntly, as well, especially when it involves people dropping their own ball and expecting me to pick up their slack. Sorry, I got my own shit to deal with, and some days are better than others, if you know what I mean. Sorry, but I don't play that, not now, not ever. Shit happens, sure, but when there's a pattern, even a macro-pattern, hey, grow the fuck up, ya' know? Having said that, though... There are a few people who really are wired differently than the rest of us, and whose behavior is just...different by nature. But there's a lot less of those than the "Romantics" would want to think, and there's more than enough posers of this type to stock a human shooting gallery well into the next decade. Anybody who wants to round them up and take them there will meet no immediate resistance from me...