JSngry

Turquoise & salmon, although probably not welcome as a food combination, work quite well together as colors.

Thanks again, Chuck, and yep, this is all Decca stuff on the comp.

Ok, here's another song that's on this comp, so probably the album is too. Maybe, contrary to what the Dusty Bastards say, this is a comp of Decca stuff, not MGM. Today it's all the same thing, but then....not. Arranger for Somewhere In the Night anybody?

Same Bill Sanford that worked w/The Ravens? Probably not, but...

Yes, many (maybe all, I can't read Japanese) are included in this compilation, including "Stormy Wethare". Now, I gotta find out who "Bill Sanford" is. Probably some guy with high hopes & low interest, but ain't that the way of the world... Thanks, Chuck!

Most of this stuff seems to be a lot later than 1956...one of the songs is "Go Away Little Girl", which Andy Williams hit with in...1962? 63? Also some pretty nice bossa material. Thing is, everything, EVERYTHING, is in Japanese!

Interesting...Thanks! What about Raymond Scott, any mention? Some of the more..."stealth" stuff kinda sounds like him...

The problem with Being Here Now is not that it's always now, it's that it's always here. That ain't real, because there ain't no here other than everywhere, and if you're just "here" now, you're over before you begin. Forget about The Eternal Now because you're gonna get that whether you want it or not, how about The Eternal Everywhere? Yeah, that's more like it. But to get around in there, you best be able to dance, because the opportunities to stumble are in all likelihood plentiful. You want your feet on the ground, but MOVING, dig? Always moving, and if no matter where you go, there you are, then does it not follow that no matter where you are, there you GO? And keep your head to the sky, no sense in looking down, not unless your feet can't get it w/o some outside help, in which case what makes you think that your head is any further along? It so AIN'T about the settings on the drum machine....

It's not even "about the music" either, that's how serious it is!

So I guess he wouldn't be the guy to ask who arranged all this stuff was then, eh? Bummer...

"In the moment" is only good for in the moment. It was long ago established that everything is everywhere all the time, you just have to know where not to look for it, but to think that that's as far as it goes is kind of...weak. We need popular music, we need pop music, we need background rhythms for forward motions, and we need to stop thinking in place and start being in places. Because that's where the world is, and we DO want to be in the world, don't we, if the world is a good place to be, and if it ain't maybe it's not all the world's fault, dig? Maybe we all be staying in the wrong part of it & thinking that's the only place, when it's really the only place to not stay in. So yeah, we got all this...improv, free music, etc/whatever that's been sitting on the new so long now that it ain't new no more. Sitting on it and now it's sitting still. Shit needs to move, & where you need to go to move that's any better than Move Music? Especially Move Music that seems to intuitively glom the allness of the time/space "discoveries" of people who are already string to die form old age, that's how "new" it is, and yet it still wigs people out, maybe because it ain't come on down to Foot & Ass Level just yet. It's a whole thing, it is (or could/should be), and dammit all to hell that I'm not 25 years younger, 100 pounds lighter, and two kids less stressed, becuas maybe then I could tackle it head on rather than just sitting here whining about it, maybe I could show y'all what I mean rather than just "talk" about it. But I'm not, and I can't, and as tired as it must be to read, it's that tired to live too. But damn it all to hell, it is so not about the "trappings", or the "machines", or the "settings" or anything like that.

A friend hipped me to this thing: http://www.dustygroove.com/item.php?id=2s9...p%3Bincl_cs%3D1 And I'm... I don't know what I am. Intrigued, perplexed, curious, and terrified all come to mind, and more or less at the same time. The guy's playing, no doubt, sometimes giving of these blatant Hodges-ism that sound really wack coming out of a tenor, plus his own eccentiricies. And the arrangements, although sometimes face-value cheesy, more often than not are fo the type that if you listen "inside" them, well, there's all sorts of shit going on, either in the phrasing, or the voicings, or sometimes both. Some of them have a Marni Nixon-esque female lead too, which just ups the "better pay attention" quotient, which is such an anti-EZ thing to do that you gotta wonder what kind of perverts were conceptualizing this shit, kinda ike Oliver Nelson's charts for that Johnny Hodges Verve EZ side, although this ain't that out there. Web detail on these sides is virtually non-existent, and all the old LP jackets seem to say is "Sam Taylor & His Orchestra", yeah, AS IF. This is a whole 'nother bag than his earlier, honking R&B work. This is "jazzy" (only sometimes) EZ Listening, standards and "pop" drek aimed at god knows who, not unlike a Boots Randlolph w/strings record, only Sam Taylor brings shit to the table that Boots Randolph didn't even know was available at the grocery. These performances not "good music" by any stretch of the imagination, but what's that got to do with anything? WHO PUT THESE RECORDS TOGETHER IN THE FIRST PLACE? Is Sam Taylor still alive? Seems as if he is!

Does anybody really think that the house for Newk's Vanguard or Blakey's Birdland LPs were all sitting there listening? Hell no. A big bunch of them peoples was there chasing pussy and copping shit. And yet there it all is.

And that is the last part of that record that I'm paying attention to. I'm paying attention to the EQ-ing of the bass, the delay on the vocals, the dynamics of the relative layering of the parts into the overall sound, everything BUT the fucking drum machine beat, which is still playing what it plays better than a "real" drummer could, just as a real drummer can play what he/she plays better than a drum machine can, I'm listening to the tempo and where the vocals lay inside it, I'm listening to Kenny Bobien's phrasing and shading of the lyrics, I'm listening to all kinds of other shit than the goddamned drum machine. It's not like it's not there to listen to...

NO MORE SONGS!!! Or at least "just" songs...

Y'all seem to be listening to it "as is" for "right now", or even worse, "used to be". I'm so not listening to it like that. This is just the beginning (or could/should be), unless nobody has any imagination, which I'm beginning to think just might be the case all over the world, in which case, hey, color me Mayan. Everybody's dead or sounding like it. Time to get out of (and start thinking outside of) the box (i.e. coffin). If you keep your history in front of you (instead of behind you) all the damn time, is it really history? Let me know how chasing the Inevitable Always There goes, ok?

One man's plodding is another's..."hard" beat. Fair enough. I would, however, accept "unfocused" for the opener of the LP, what is it, "Kawai" or something like that. Re> the Grossman/SA comparison, I was referring mostly to the stylistic similarity in the material, although SA brings a more overt..."Elvin" flavor to their pocket, whereas Sonny is more...straight four, walking down the street. The comparison does crack me up though, because the longest I though that it wasn't until the whole Way Out East thing that SG showed his Rollins tip. In retrospect though, it was there before that. There are similarities between Shapes To Come & Cutting Edge, although I'd not put too fine a point on them.

Dude, I bought the LP waaaay back in the day, 1976-77, somewhere in there. Might even be the first Japanese import music I'd ever bought. The opener I kinda snooze on, but everything after that is pure gold in my book. As for the bonus cuts, as noted above, nice but not essential. And I really do dig the David Lee/Mtume hookup, and David Lee w/Rollins, period. Big bunches. I'm bummed that he's dead, because I held out hopes of someday findiing him on a "local" level & jamming for a little bit. So much for that one. Anybody else besides me notice how much Sonny's band from this little window often sounds like what Grossman/Stone Alliance would be getting into just a few days later?

Or http://www.shaggs.com/ for that matter.

http://www.shaggs.com/return_of_the_shaggs.html

Not from me. When they said that everybody digs Bill Evans, they hadn't asked me. Sorry.

http://orgyinrhythm.blogspot.com/2008/03/c...two-is-one.html Oh well...

Whatever happened to David Lee? DAMN I dig the way this cat plays/played!

Thank you, Ira Gregler!

That was a Lyles West original. I've got one, as yet unrecorded, called "Only Their Ears Were Pink".