JSngry

You do, but you're like peyote - after you make people vomit, you get 'em high like a motherfucker, and they keep coming back.

There's a handful of artists to whom I "committed" a loooong time ago, and barring any major breach of fundamental faith, I go along for the ride no matter where, and no matter what. Wayne's been one of those folks, and although I haven't gone everywhere (some pretty obscure sideman appearances that I have neither the time nor inclination to dig around for at this juncture) or dug everything, those Columbia albums were some that I really did dig from Day One. Wasn't bothered boy the sounds and textures then nor now. They were what they were and they are what they are - sounds and textures. As such, they carry no weight or meaning other than what is imbued unto them by the composer/performer/listener nexus, and if it don't work for somebody, hey, that's 1/3 of the triangle that ain't there, and is that really anybody's "fault"? I think not. We all have blocks against certain vibrational clusters, and it's a challenge, if accepted, to work through those blocks into a realm of "obtained objectivity" (although if true objectivity is in fact "obtainable" is another matter altogether...). That's an issue with some sounds for me, but not the ones used on these records. Oh well, and all that. No, Wayne and his cohorts weren't into Zawinul-land as far as "human" electronic sounds go, but then again, when was Wayne ever about being "human" in the same sense that Zawinul was? Anyway...point being that Wayne goes his way, and I check him out as he does, just because he's Wayne, and just because he can't he but be Wayne in anything that he does. That's what I hear first in any music of his - the Wayneness. The rest - tones, textures, etc. spring from and play to that, and just as I don't think it odd that a saxophonist continually experiment w/different reeds & mouthpieces in order to refine/clarify/possibly expand their tone, I don't think it odd that a composer would do the same with instrumentation. The thing for me on these albums is this - does it - the whole of the music, from the lines to the textures to the melodies to the overall "feel - sound like anybody besides Wayne? And I gotta say that no, it doesn't. Didn't then, doesn't now. I'm a low maintenance friend, really. I don't make a lot of demands on how you gotta "be" to stay my friend. In fact, I kinda dig it when motherfuckers go off on tangents, trips, and shit like that. I do it myself, why would I not like it when my friends do the same? So I'm not one to listen to, say, Phantom Navigator & rue how I dug Wayne so much more better when he was playing "Witch Hunt" all acoustic and all swinging with Elvin and all that Days Gone By shit. Nah, Wayne's my buddy, and if Wayne's got this to say, then I want to hear what he has to say the way he wants to say it, and the way I am with my friends, them being who they want/need to be takes precedence over how I want/need them to be. If it gets too weird, I can and will sign off . But otherwise, hey, if you're my friend, you can almost always do your thing and have it appreciated as such. As for 1+1, it should have been recorded after they woke up from their nap, not during it. Simple as that.

Just remembered that he's on that incendiary Richard Davis Epistrophy & Now's The Time side. Also on a Louis Hayes Muse side. Not yet mentioned is the live(?) Enja side with George Adams.

There's a good version by Harry James (believe it or not) on Capitol somewhere. From the 1950s, it is. I have it on some old grocery store/budget LP, don't know if it's ever been on CD.

Now that's one to check out! :tup :tup

Lou Tennant Major Harris General Johnson

Au contraire! I play them for younger musicians today, some of whom have never even heard of Paul Weston and/or Jo Stafford, and the reaction is always the same - puzzlement followed by bewilderment etc etc until finally the guffaws come fast and furious. A little goes a long way with them, but hey -as long as there is a music business, there will be a quiet yet knowing audience for the talents of Jonathan & Darlene Edwards. This I do believe.

Don Elliot is the name most often associated w/that one.

Alright then, now I know where you're coming from, and yeah, "challenging" it certainly is, and indeed "heady" as well! Definitely not a "groove" album.

You gotta start eating at more..."authentic" joints. Those cookies will have lottery # picks. $750,000.00 of my first $1,000,000.00 were earned this way.

No doubt a themed collection of numbers with the "sanctified" feel/beat/groove/etc/whatever.

Not a huge Gayle fan myself, but I think he's at least a little more..."practiced" than he would want us to know. Just a hunch I get from listening. Otherwise, I think he's kind of a "man out of his time", if you know what I mean, and that's a mixed bag, to put it mildly... But the clown suit & street preacher things, hey, I love that. But apart from, not as a part of, the music. Then again, when you're a man out of your time, some crazy shit is sure to sure to follow.

I found it in suburban Little Rock about 20 years ago. It's...ok at best, mostly a curiosity, at least for my tastes. All of the poetry involved reads better than it speaks (or is spoken here, to be probably more fair). However, Quartet Out did sample the Ishmael Reed reading and included the line "burning lakes of fire" in "Hip Bop". The Reed thing is probably the best read and the best poetry on there. Again, that's just my taste.

Making a living performing for your peer, hell that's magic right there...

You're doing better than me - I can't even remember if I had breakfast this morning!

April Stevens Nino Tempo Nico

Joe Goldberg Jo Jones Joah Madden

If you can think of it, please post here, ok? I'd very much like to read it.

Hey, if I see tigers and leopards out side my windows, you best believe I'm calling Mack!

It's a faux-concert recording in which many of the big names of jazz circa 1961(?) are mercilessly parodied. Nobody has yet come forth with who the actual participants are.

I've never used a Mac, but the repeated claims of superiority by all who do have not gone unnoticed! But we need compatability between work and school and home, so that means sticking with (or as you'd no doubt say, being stuck with!) PC. At some point, though, when I can have a machine just for me and my own world, I'd love to get into the Mac world, just to see what the deal is. I mean, so many people being so enthusiastic about the platform, that's not accidental.

MORRIS GRANTS PRESENTS J.U.N.K. (JAZZ UNIVERSITY'S NEW KICKS) -- Argo LP 4006

Punch Judy Red Garland

Exactly. All it demonstrates is that some days are better than others.

http://childrensrecordsandmore.blogspot.co...g-ssssions.html The two released cuts have to be heard to be believed, and not just in a "so bad it's...beyond category" way either. Zappa's writing is...well, see for yourself. The rest of it? Other than "Teenage Bill Of Rights", don't bother.