JSngry

Well, that's just too weird, especially if they're both on the same disc. I'd advise a grain of salt until more proof is offered. Although, anything's possible...

Like I said, nobody's perfect... Besides, the full appreciation of the yin requires the yang to surrender to it at some point for some duration, and vice versa. Guys as a rule have a helluva hard time with surrendering. They think that once you let it go, you don't get it back. That only happens if you never really had it in the first place...

Don't know that I'd agree, but don't know that I wouldn't either. My guess would be that what turned Mile off on Sam was a certain lack of, for want of a better word, "subtlety". Even Trane at his most torrential left you with layers. Sam was. like I said earlier, "in your face" even when he wasn't really trying to be. That's just how Sam was (and still is), and that's what makes him such a beautiful player. But Wayne was always had a quality of "in your mind", even when he was getting in your face. And that's what I think Miles was after for his band, that extra layer of impact. Besides, that rhythm section was already pushing the limits even when George was in the band, and Miles did absolutely nothing but encourage them. No matter how much Tony dug Sam, you still had Herbie, who always brought a little bit of cerebiality to the plate, one that would fit better over the long haul w/Wayne than it did with Sam. Just my opinion. I'm talking "personality" here, not "substance". Sam in those days was a very advanced player, so it's not a matter of Wayne being "deeper" or anything like that. We're just talking collective/cumulative/synergistic band personalty.

Let's be real here for a second - most men are clueless idiots (especially "jazz fans", who are looking only for a badge of identification by which to justify their otherwise totally unhip selfs). It's a miracle that the species has propagated itself this long. Women as a group have been more than forgiving. Let's hear it for yin & yang and the natural pull between them, because otherwise... But I've had good luck w/both genders. The male musicians I know really dig her, as a rule. Except for those who are the abovementioned "jazz fans" who just happen to play, no matter how well... But the cats who both know & feel music trip out over her far more often than not. THere's been one or two exceptions, but hey, nobody's perfect.

I think they're the same guy. I saw Kenton in the 70's w/McKenzie on drums, and he looked old enough to have played w/him in the 60s.

Bake Turner Ike Turner Truck Turner

Just curious - what type people would that be?

There's so much to love on that album (4 Seasons). It's continued to grow & deepen for me with every listen, even now. Played it just last week & halfway expected to be a little blase about it now. Nope. Not even slightly.

Yvonne Goolagong Waltzing Matilda Disco Duck

Thing is, have you ever met Drew & David's younger sister? What the family saved in "attractive" genes on the twins, they more than spent on her!

In days of yore, Drew Phelps/Barney Fife.

(The) Taxman Doctor Robert Elanor Rigby

Without context, I can easily confuse Bill Folwell w/Bill Laswell & Lewis Worrell w/Bernie Worrell. Fortunately, I usually have context...

Miles was already chasing Wayne while Wayne was w/Blakey, so I don't think that Sam "primed the pump".

I've got that album. Purple cover, right? Definitely alternate titles. I wonder why/how?

Well, yeah. It was Tony who got Sam the gig (I've heard that Tony & Herbie both were drug - at the time - w/Coleman's more inside approach), & Tony was definitely feelin' Sam on this gig, as was Herbie. But Miles, I don't think was ready yet for Sam. Sam was loose, like you say, and I get the feeling that he was, shall we say, "underwhelmed" to be playing beside Miles. The difference between Sam in this band & Wayne in this band is that with Sam, he came out and laid it all out, and that was that. With Wayne, there was always the sense that there was going to be something more to come (as there indeed would be). And for the way that Miles liked to present his bands (and his life in general...), that sense of more to come (vs. "this is it, deal with it") made Wayne the more fitting long-term choice. But I love hearing Sam on this date. Miles is still playing in a faintly residual "Blackhawk" style (which was in itself a residual '50s style), & then Sam comes in and essentially says get the phuck outta my way with that shit. Very disrespectful.

That's front & back covers on the 'Ball. It was a gatefold LP.

Sam plays like a motherfucker. Can I make it any more plain than that?

Could be...

But this is weirder than all of 'em!

USED to be live...

They creep by night, behind closed blinds:

One key left. Just one.

Well, yeah. You've spun your wheels into the anonymity of: and they never stop spinning, do they...

This lament is not that disimiar to that of the also deceased Tom Cat, is it?