JSngry

What this says to me is that American business is coming full circle, only they've now gotten slick enough to build in a buffer of plausible deniability, even for themselves.

:tup :tup :tup :tup :tup A very nice primer, especially for somebody like me who is totally ignorant of the subject. Where/when is Part II?

Big John Patton Organ Grant Reed Sax (Tenor) Grachan Moncur III Trombone Melvin Sparks Guitar Alvin Queen Drums 6-7-83, White Plains, NY Nilva NQ3406 Side One Soul Connection (Dusko Goykovich) Pinto (John Patton) Extensions (John Patton) Side Two Space Station (Grachan Moncur III) The Coaster (Grachan Moncur III) ====================================== This side swings like a mofo, and does it from jump. Anybody who "fears" Moncur on this one is either hopelessy paranoid or else totally unaware that the guy has always had skills/chops/whatever besides the "avant-garde" (he did stints w/both the Jazztet and Ray Charles, remember...). He's a very succinct, to the point "blues-based" player & composer, and his work on both counts here is totally "in context", and actually, if he doesn't exactly "elevate" the session (everybody's doing fine already, thank you very much), then he very much keeps it on the high plane that it already is on. Once we get this one out on CD, can we get the Shirley Scott Strata-East next, somehow, somewhere? That's another "hidden gem" yet to see the (refracted) light of CD.

Withdrawn? Really? I found my copy in an "official" cutout bin many years ago, early 1990s, still in the longbox and everything.

Sorry, I didn't realize that a question had been asked of me in this thread. My bad. What I mean is that Miles for some reason to go into an "operatic trumpet" bag ala Pops on this one, and clearly (and most likely knowingly) has nowhere near the chops to pull it off straight. So he just "abstracts" the shit out of it, playing all the shapes of what such a line would sound like, with all the gestures, but none of the notes, none of the specificities! It's just this...outpouring of shaped sound that resemble a Louis Armstrong solo interpreted by Renoir in sound, if that makes any sense to anybody. It's not all that different in concept from Lester Bowie, and did somebody say St. Louis? And Tony, my god, Tony is just all, "ok Pops, let's rock the house then", all into this backbeat thing that's as far back into the pocket as you can be and still be there, with time that is about as deadly obstinate as it can be and still swing, like if Barrett Deems was a world-class mobster and was breaking your legs in the most cooly professional manner you'd ever seen before. I mean, we know that these guys had a sense of humor, they had to. Might've been a "dark" one, but still. It's just not been documented this blatantly before, not that I can think of off the top of my head. Now, Wayne, hell, Wayne lived to do shit like this. But Miles is always the "dark, brooding" one. Not here. Here, he's a drunk Louis Armstrong on acid, and it makes me laugh my ass off.

More important? Hmmmm....not so sure I can agree with that, especially "poor" artitsts, especially not in quantity... "Average", I could go with, though... But as important, yeah, definitely, because, "regular" gives "genius" more properer, more fullerer context, and vice-versa. And knowledge with out context isn't really as much knowledge as you want out of the deal, I should think. Otoh, the syndrome of certain music fans knowing the minutae of every "Funky 45" collection ever issued and knowing only the hig(est) points of James Brown, Stax, etc. (or even claiming some "superiority" for the former group over the latter) is the type of phenomenon you get when "context" becomes an end unto itself rather than a tool to understand everything about a particular set of circumstances, from the lowest to the highest. Balance. You gotta have balance...

Same here. And I don't think that the opposite holds nearly as true, because we got all kinds of "world music" & "one world" types walking around dropping pellets of cluelessness like some many cultural Johnny Appleseeds.

It's not about seeing "famous people". It's about seeing great musicians.

Gotta love this:

http://en.wikipedia.org/wiki/Indian_Head_test_card

Man, I love them old test patterns...

I've experienced so many different types of burns with/from so many different types of friends that I'm known in some circles as Fire Marshall Bill.

Is it good for tappin' dat ass? Because nothing relaxes Mr. Jim more than poppin' that coochie & tappin' dat ass. So if this album can facilitate that, I'm gonna have to consider thinking aobut maybe buying it, or at least getting a burn from a friend.

Keep her around, Jim. Please. Mocking her constant focus on relaxing is very relaxing to me. So much so, in fact, that after I read her posts, I have no need, much less urge, to buy the music she's pimping in order to relax.

Summer of 1973 - I'm 17, still in high school, and we're in the Houston area for a weekend to visit an uncle. The old man's sprung for 6 seats - good seats - to the Astrodome to see the Astros play. The old man probably spent just a little bit more than he wanted to for those tickets, but the old man was a pretty cool guy. So -we pull into my uncle's house on Friday afternoon, and he's got a copy of the Houston Post(?) out on the coffee table. I go straight for the entertainment section, because Houston then had a jazz club (La Bastille) that booked national acts. We had seen Kenny Burrell there last year, the family & I had. But there was no Astros game that year either. Alas. Anyway, I'm looking to see who's at La Bastille, and...something else catches my eye. The Duke Ellington Orchestra is appearing at some posh hotel in downtown Houston. Might've been a Fairmont, or something like that. Well...well...well....Dad...do we have any money left over?...can I pay you back...can you drop me off at this hotel while y'all go to the Astros game...is there any way in hell to make this happen? Well, dad was really cool about it (the man always supported my interest in music and my decision to pursue it professionally, in part because he himself had had such a painfully stiff upbringing that it kinda did him glad to see his son doing something that he genuinely enjoyed...), but dad just couldn't make it happen, even though he repeatedly told me how he wished he could, and how that he wished he could go too. But the money had been spent, and the logistics were just not possible. I understood. Now, this was summer of 1973. And this wasn't a concert gig, this was a weeklong stint at a hotel, not in NYC, but in Houston. I'd be willing to bet that the band was pretty raggedy, the sets pretty predictable (mostly), the filler ratio uncomfortably high (Nell Brookshire, anybody?), and overall, it would have objectively sucked far more likely than not. The review in the Post talked more about the "legend" than the gig itself, so... But still it was Ellington. And it was Ellington's band. Live. In person. Right there it three-fucking dimenional reality in the flesh. Even if it sucked harder than anything had ever sucked in the history of the world, it was still Ellington. And it was Ellington's band. Live. In person. Right there it three-fucking dimenional reality in the flesh. And I was going to have to miss it. Less than a year later, Duke was dead, Gonzalves was dead, Mercver was leading the band, it was full of younger cats, and it was "good, but it was not ever again going to be Ellington's band. Live. In person. Right there it three-fucking dimenional reality in the flesh. I had my chance to have that experience, and it was just not to be. And I still have deep regrets over that. You that the likelihood of it being a fairly crappy show that I missed enters into this at all? Ther is so more to life than just "a good show". You think $60 and some time spent is too much to risk to see some shit you should never forget (just because), with the chance that it might end up being something you might never be able to forget, hey, it's your life. But I can tell you this, and mean it like I mean few things - money comes around far, far more often than do chances.

Exactly.

Yep. And a nice tenorist named Grant Reed. A very groovy side.

Hey, you gotta love this, right?

EXCELLENT! :tup :tup :tup :tup :tup :tup :tup

http://www.kalamu.com/bol/ Navigation takes a little gettting used to, but the guy's tastes are broad and deep. And there is plenty of jazz deep inside, if that's what you're looking for. Not necessarily "profound" or anything, but I like the "flavor" of much of what he says and how he says it. Check it out for yourself.