JSngry

It followed me home and my mom let me keep it.

But everyone knew her as Nancy.

Shaddique (rhymes with "barbeque") Ferguson, the guy who took all those great tenor solos on all those great Rayford Jester 45s.

That spoken-word stuff on Side Two is kinda out there...

He was from Kilgore, Tx, and his momma was our church organist for a little bit. I was just a baby then. I'm told that Van himself would occasionally hold me while my parents took communion. Whatever. They used to have a bigass billboard with a really poorly painted picture of him in downtown Kilgore, but it got run down and then finally tore down. HAsn't been there for about 30 years. Oh well.

Agreed. And how many soundtracks are being included in this set?

Might be hard to find, but boy.... The man is bloated as hell on the cover photo, and you can only imagine why, but damn, he sings on this one the way I've never heard him do anywhere else. Quite moving, it is, Quite.

Yeah, I know, that's 7.

FWIW - Taboo Flight (Marni Nixon-Soprano Voice) Gauguin (Marni Nixon-Soprano Voice) Singapore Sling Polynesian Suite: Tennin, Barbarian, Mistress, Anchorage, Corpse, Sleeping Gypsy Room with Skies Japanese Suite: Sakura Sakura, Tanagra, Katmandou

Uh...YEAH!

Sal Nistico y'all. Sal MOTHERFUCKING Nistico! Nothing more than a damn fine player, but a damn fine damn fine player he was. Nothing but pure Tenor Love for him here.

http://www.youtube.com/watch?v=rJbU0ssrvm4 http://www.youtube.com/watch?v=fa0_K2bVA_M http://www.youtube.com/watch?v=8wKXUAKC3E0 http://calwestray.tripod.com/images/mannix.mid

Well, ya' know, the guy was a good arranger and all, but other than the side w/Mingus LT et al, and maybe that Impulse! side, I don't really know that there's anything there other than "good arrangements well played", which is all well and good, but hell, this ain't Oliver Nelson we're talking about...

Oh geez, just realized the this is in the Recommendations thread instead of the Reissues thread. A middle-aged man and his glasses should never be aparted, but alas... Mister Moderatorman, cudja mooooove this puppy to its rightful home?

So it seems... Now, what are they licensing - master tapes, previous remasterings, or remasterings done for mp3 downloading? And what are they selling - CDs or CDRs? With what generation artwork? I just think it's weird?/cool? that an outfit like DG can walk up to Mr.Universal Music and essentially say, "Hey dude, I can sell a cupple hundred copies of OBSCURE-ISH TITLE X to my buddies, can we deal?" and that Mr.Universal Music essentually says, "Sure little fella, what's a good price for you? I wanna help!" Even if this was Bizarro World, I'd be taken aback if it were just all that simple and sunshiney-happy...

Ssssshhhhhh!

So how does a freakin' record store get to lease material from Universal, assuming that that's what's happening?

Interesting! What label is it on?

I think my sense of "intrinsic difficulty" is that it's often a matter of music where expressiveness is not the major point--where the music is instead more like an intensely worked object. You can like it or admire the obsessiveness and skill with which it's put together, but there's a certain "it's just there" element which you have to deal with. Ok, call me...whatever, but I really do think that purposely not stressing "expressiveness" is an expression in and of itself of a highly specific personal POV about life in general. "Expression" is one of those things from which you can run (and many try) but you cannot hide. You can consciously not be "expressive" in a "traditional" manner, but the rejection of same is rooted in something, and that's what the rejection is at least partially an expression of. A lot of the the uber-hip "post-modern" types hate hearing this type shit, but there it is.

Hm.... I don't know about that; indeed I suppose I was asking about music where the difficulty seems to be actually part of the music. Does this idea not make sense to you? (genuinely curious here). Well, yeah, but only for a little bit. I don't really know about difficulty being "part of" the music, becuase except for the very most rudimental stuff, there's difficulty of one type/level/layer/whatever built into it just as a matter of it being the work of people(s) who had to think/learn/etc before doing what they do/did. And once that begins, even if one step of the way proves "difficult" for them, isn't that just how it goes and has gone and might still go since they made the decision to go there in the first place? I mean, hell, Richie Cole is in no way "difficult music" other than it being hard to take for more than 10 seconds, but it wasn't "easy" for him to learn to play like that, and for a lot of people who don't have half a rat's ass of a clue about music, it is "difficult music", just becuase they don't know what the hell they're listening to. So I do think that ultimately the question of "difficulty" is in the probverbial Ear Of The Behearer and not some quantifiable quality that is intrinsic to the music itsel other that relative to any given audience at any given time, which is why early Ornette wigged out so many people then but the same shit is almost conservative to a lot of today's ears. So yeah, I know what you mean, and I think I know why you're asking it. I just think that you're looking for at least some answers about the music itself when all that's really to be had are answers about the people who hear and make it. Not exactly the same thing, although at first -or even tenth - glance they might seem to be.

Where? How?

All Universal-owned stuff: http://www.dustygroove.com/browse.php?labe...1&format=cd How is this working anyway...

http://www.tikiroom.com/tikicentral/bb/vie...;forum=11&1

I'm a big fan of hers. Haven't heard anything that was less than excellent. She's a very soulful singer, not in the American R&B-ish meaning of "Soul", but in the sense of feeling live on a deep level, recognizing the pitfalls and darkness as well as the beauties, and bringing it all to the music in a blend that denies neither at the expense of the other. I will pretty much buy anything by her on sight, although as with her husband, I don't have nearly as much of her work as I should. That Ellington-produced date and two Enjas, are, about it. But I've heard more and, yeah, she's somebody special.

Yeah, the pitch began to get weird sometimes. Not Rufus Reid weird, but still... And yeah, his use of "personal devices" increased exponentially over time, if you know what I mean (and why it bugs me), and I think you do. Can't take away from the fact that the guy is still a stone motherfucker of a bass player when he wants to be. But having to add "when he wants to be" to that sentence says it all, I think.