JSngry

Free download available, so off to Part Two. TRACK NINE - No idea. Pleasant, really like the bassist & percussionist. The tune is familiar, but...am I hearing a clarinet in there? Weird... Guitarist sounds whooly confident & comfortable...really doesn't "do anything" except create a very pleasant zone for 2:49. Far worse things can happen in 2:49 than this... TRACK TEN - Again, no idea, but right away you can tell that it's a more modern recording, and...wow...the lack of depth/presence/whatever in the sound is apparent right away. Digital doesn't have to sound this way, but too often it does...there's a fine line between "comfortable" and "complacent", it's a line we all draw for ourselves, no ultimate right or wrong, but for me, this one is on the complacent side. Damn fine plaers all, just not anything to draw me in, much less keep me there. Oh well! TRACK ELEVEN - Oh HELL YEAH! "Kissin' Cousins", & not the Elvis one (although this one does have lyrics too!)! Big Al been hittin' the Half Price LP bins, eh? A Mosaic Select of this whole series is freakin' IMPERATIVE!!!! GO BOB BERG!!! I wasn't always a fan, but here...YEAH! I was actually thinking about this one last week, nearly pulled the album oout, but reality intervened, as it is wont to do. So a BIG thanks for droppin' this be-atch RIGHT in my lap! Bob Stewart used to jam the SHIT outta this one on his shows btw. Tasty, groovealiscious, from a legend (anybody needs a hint, listen to the left hand of the piano solo @ about 5:20), with electric bass, and from the 70s. They said it couldn't be done, but fuck them! TRACK TWELVE - Sounds like more/earlier from above, but with a Riverside studio sound...I dunno...wait, that's Lee, big time, so that's probably what, Take Twelve or whatever that one was? I never really got too much into that one myself...I sure dig Clifford Jordan on this though, might need to go back & relisten just for him. TRACK THIRTEEN - Gotta be Jo Jones on drums! Sounds like maybe a Hodges riff blues, he had a zillion of 'em (literally!). Budd Johnson, Roy Eldridge, we're in GranzLand fersure! Hawk! Ok, DOH (again!) it's: http://www.allmusic.com/cg/amg.dll?p=amg&a...10:fcfoxqygldke It's the long jam on here that I always obsess on, but hey, here ya' go here! Not a Rabbit tune, but them two were so stylistically intertwined as to make no nevermind, not about that. Dig the way Ray comes up for that pedal under Ben's opening. Playing the mike like a singer, he is. Hell, this is a classic record, imo, one of the best, not the least because of Jo Jones. Jo Jones y'all, JO JONES!!! TRACK FOURTEEN - Georgie Auld? Nah... no idea, really, but I've heard some Auld sides on Philips that kinda take this jazzy/loungey groove to some nice places like this, althouh not usually this...tasty. I like it quite a bit actually, nice melody, nicely played, good arrangement, good functional soloing, first-rate all the way. The tenor's phrasing is just a tad too loose to really be Auld, but if it is, I'll not be surprised. TRACK FIFTEEN - Sounds like a Concord band, a bunch of older guys who moved out to LA for warmer weather, more gigs, and less "challenges". It's ok fersure, just not the type of vibe I get into. TRACK SIXTEEN - "Second Time Around"...sounds like Oscar Peterson...my opinion remains the same as the first time around. But good god, when people complain about "the dreaded bass direct", hey, this is Exhibit A right here... Oh wait, that left hand, now it sounds like Bill Evans... Yeah, it's Bill Evans. The stiffness of the opening statement & the "swing" of the opening lines had me thinking Peterson, funny how that works, but soon enough the Evansosity of it all became apparent. Peterson or Evans, such a choice, what is this, the Piano Players You're Supposed To Love But Sangrey Doesn't Have Any Use For part of our test? Oh well...plenty of other people have plenty of use for both Oscar Peterson & Bill Evans, so...let then take advantage of the opportunity. Oh well, plenty of great stuff on this one, thanks Al, and I'll be dowloading Disc Two ASAP. Looking forward to it!

An unusual disclaimer in place - gonna have to do this one in parts becuase of the time gap between allowable free downloads. Gotta carpe diem, so here's Disc One, Part One, literally just downloaded, and literally "first take" responses. Other than that, the usual thanks & disclaimers are firmly in place, so away weeee gooooo! TRACK ONE - Wow, intersting metric layering in that intro...intersting writing too...sounds like Clark Terry on the muted portions....gotta be Blakey....open horn still sounds like Terry via Dizzy, accentuating the "corniest" traits of each, not that it matters with what's going on underneath, which is really, really cool, is that pizzicato cello...yeah, that's CT, brighter sound than usual, is he on coronet? My guess: the lead track from This One TRACK TWO - Wow, that was recorded HOT! Sounds like one of those late-40/early 50s bop "little big bands" like Jug led where the concept was big band but the #s were smaller. Groovy tenorist, definitely one of the DarkerSideOfPrez cats that were such a dominant voice back then in certain circles. Trumpeter sounds more like Jesse Drakes or somebody than a "real bopper"...I'm really digging this tenor player....Tom Archia? Some of the licks sound like Jacquet, and the more I listen/think about it, that's my call, Illinois Jacquet, late 40s/early 50s, with his popular comboband. Recording quality has that RCA sound, so I'll guess: http://www.allmusic.com/cg/amg.dll?p=amg&a...10:gxftxqlgldke Although, I gotta say, Jacquet usually puts a little more grit into his tone than I here hear (or hear here if you like...). Hell, I got this on LP, I should cross-ref... TRACK THREE - Well hell, that's Carney & Rabbit. Columbia studios. Not Duke, though, I don't think. If it is, this is a cut with which I am not familiar (or one that I've heard and forgotten...). Sure sounds like Woodyard, though, and the brass is hittin' like Duke, so I dunno... Every bit of Ellingtonia is valuable, and if this is "lesser" Ellingtonia, hey, it's still Ellingtonia, which puts it in another class altogether. TRACK FOUR - Wow...sounds like one of those of "modern dance bands" from the 50s, ones who still aimed to play for dancers in tempo, groove, and overall ensemble sound but otherwise let the writers do their thing. Actually, it sounds like a studio band playing a chart in that vein...Woods, Cleveland, and who on tenor? Al Cohn on speed? This kind of thing is definitely a "thing" in terms of playing the charts, you gotta adopt a specific mindset to make it work, which these players do, which was no doubt a lot easier, perhaps even almost instinctual, in their time than it is now. so yeah, well played, extremely so, does what it sets out to do, betterh than it has to, actually, and if it ends up being "another day at the office" when all is said and done, then hey, if all offices were like this, that wouldn't be so bad, would it? TRACK FIVE - Glenn Miller, "Running Wild", know it well, grew up with it in the house. A lot of the bad rap on Miller is deserved, most of it actually, but one thing about him is that he consistently had some damn good charts - well-written, not at all "easy" in either difficulty level or concept, Bill Finnegan, Jerry Gray, them cats could freakin' WRITE, and this is one of 'em. Guarantee you, you put this in front of a typical pickup dance band, & it's gonna be ragged as hell and nowhere in the pocket. So yeah, dis on the Miller trip all you want, you're right, but dammit, recognize the musicality of them charts damn it, RECOGNIZE! TRACK SIX - "On A Misty Night", obviously...not sure about the concept, well, there's Griff, so it's ok, but still....there's better choices of songs to do THAT with, although again, Griff could make damn near anything palatable...almost. Still that's Tadd's chart from http://www.allmusic.com/cg/amg.dll?p=amg&a...10:hzfpxqygldke & it's Tadd's tune, so he can do with it what he wants. But...that intro & outro is just kinda....wrong for me, and the whole chart seems too top-heavy for the tune itself. Sue me. TRACK SEVEN - Golson...don't know this one, but I'll guess: http://www.allmusic.com/cg/amg.dll?p=amg&a...10:acfwxqrgld0e Good stuff. TRACK EIGHT - I've hear this one before....sounds like a Max date...oh hell, that's "Gemini"...DOH!!! http://www.allmusic.com/cg/amg.dll?p=amg&a...10:0xfpxq9gldae Always interesting to hear Little Bird get hooked on Trane, since it probably meant more to him as a Phellow Philadelhia Tenor...another good example of the transition is KD's Showboat album, Heath just BURNS on that sucker, totally Trane-Dazed. Yeah, this is good stuff too. Gotta run. let's see if enough time has elapsed so I can get Part Two!

Geez, what kid wouldn't want to be holed up all alone in a lighthouse w/Adrienne Barbeau, a big stash of jazz sides, and a broadcasting console? The possibilities for kink in that scenario are virtually endless! :tup :tup :tup :tup :tup

Plenty of live cats posess other people with their spirits. It's a fact!

Yet another O-Board Bassoon Thread: http://www.organissimo.org/forum/index.php?showtopic=1081

Frog legs are delicious, & my mom got scared shitless when a frog popped out of some letuce in Florida.

Becuase you've been possessed by the spirit of Howard Rumsey?

I never thought to look before, but here it is! The Bunny Bread Jingle Almost sounds like Tennessee Ernie Ford. Well, almost. Hee hee, I feel about 35 years younger! Where I grew up, that jingle was for Butternut Bread!

Hey, it's a step up...

Kean, we want Kean, where the fuck is Kean?

Well, ok, maybe not my dream house...

Well hey, guess what - I was looking at LPs at a Salvation army today and came across one by the Baja Marimba Band. I looked at it on both sides to see if the "there's a guy taking a leak on every one of their albums" thing was true (didn't see it on this one), but the trumpet player was none other than Lee Katzman. So hey.

Maybe he dug Oscar Peterson.

I'd like to invite all teh new members to my house for lime sherbert, vanilla wafers, and just a funky good time in general.

Ok, so I go to pay my 2007 property taxes (late after 1/31) & renew one of our car's registration (both done at the same location) & I pass a Salvation Army store that's been open for about a month or so. Decided to stop in on the way back, and lo and be-hold, look waht they had for $2.99 each (CD): Vijay Iyer - reimagining Noah Howard - at Documetnia IX Leni Stern - when evening falls Joe Chambers - MIRRORS Dmitry From Paris - Sacre Bleu Red Holloway - coast to coast Ok, so these are mostly promos (hole punched out of UPC), but damn, I couldn't find this shit my freakin' Borders or B&N, ya' know? And come to find ut, if I'd been 55 or older (got a few years left...) I coulda gotten a better price, because Tuesdays are Senior Discount Day @ the Salvation A. Moral of the story - pay your taxes on time, pay attention to things you pass on the way, and don't be afraid of suburban thrift stores.

Well, this is primarily a JAZZ forum. Those of us who can't play instruments have to do it some way (and so do some of us who can). MG I agree. The AAJ mentality seems to deter out and out goofiness and thread hijacking in general. Gotta have the goofiness. Got to.

No, this was allegedly from the same people who invented Melmac:

I've got in on Alamac, which might even predate the Rose. Alamac, y'all, ALAMAC!

Welcome to New Jazz In The 21st Century, where evrything old IS new again!

I've heard all (?) three on Black Saint ("on loan from a friend"), liked them all well enough to remember the name, just not enough to "commit" yet. Maybe someday, if she continues to grow, or maybe not, if she doesn't. But for those looking for somebody "to follow" as they go/grow, she's a good candiate, I think.

I Googled Lee Katzman & got a lead that he had performed at the Celebration of the Arts Festival festival in Delaware Water Gap, Pennsylvania. http://en.wikipedia.org/wiki/Celebration_o...e_Arts_Festival The festival has a website http://www.cotajazz.org/ Perhaps the current status of Mr. Katzman could be ascertained by communications therein.

Back to the original topic, I just got to hear this one: and wa a little disappointed. Performances were all short-ish and rahter perfunctory. Well played, but a little "die-cut" if you know what I mean. Still, the work of Gianni Basso in particular shows that if this was not necessarily a "good record" (although oithers may differ in that assessment), everybody involved was definitely good players, and that some of them no doubt had at least several gears higher than what is on display here.

Seriously, I like her spirit & apparent sincerity, not so crazy about her tone & articulation & maybe compulsive retro-ness (even if it's only retro to say, Trane '64, that's still way retro, and some people who were born then are grandparents now, and she herself isn't mast mid-30s at most...), but mostly it's spirit/sincerity vs tone/articulation. Any thoughts?

I guess labels were really out-of-control "trend hungry" to get a potetntila "jazz version of..." hit and were looking for any show that might take off, even before it did (or didn't!). Duke's All American seems of the same ilk. That's an intriguing group on that Kean side. Wonder whose book/tunes the show's was, & if the songs themself were any good? Mike, keep us posted!