JSngry

Dinty Moore Hungry Jack The Jolly Green Giant

Correct me if I'm wrong, but weren't those two tunes recorded in two pieces each? There's a countoff at the beginning of each side, iirc.

A few friends have sent Aldo Sinesio e-mails, trying to buy the LPs at his price. Those e-mails have gone unanswered.

Yeah, chieu-tchoo, your word on Tiberi sounds like "gossip" that's so far removed from the source as to not be taken seriously. From what I hear, the holdup to Tiberi's cache is that he wants what they're worth to him, and ain't gonna settle for less. Might not be a good "business move", but considering his personal attachment to all those tapes (I think he made them all himself) & his natural dislike/distrust of "the business", it's understandable. I was hearing a few years ago that a deal was imminent. Why & how it fell through, I don't know. But the word that he doesn't want to let them go because that's where he steals all his licks from is flat out bullshit. You might be able to get a grain of truth out of some things you hear from 157th generation sources, but a grain will be all it is, and you're lucky if you get that much. Remember that, ok?

Ward Bond Walt Bond The Band

Hey chew-chu - Chan Richardson is Bird's widow.

She's young and enthusiastic, sings reasonably in tune and with good phrasing. Doesn't sound like she's absorded the Massive Grandeur Of The Tradition, if you know what I mean, but then again, why should she at this age, time, & place? We've got enough people too busy pretending they're of a different age, time, and place as it is. I'd say, based on this one cut, that she's somebody to drop in on from time to time to see how she's doing. Might be something happening, might not be. The spirit is definitely there. The rest, we'll see.

Gave this one a sustained listen last night, and I think the thing that bugs me the most is that the sax player seems to be one of these guys sho's spend a lot more time on his fingers than on his embouchure. That's gonna bug me from now until the day I die, I reckon. But... I really, really got a feel for what the rhythm section is up to, and I like it a lot. Fans of Strata-East type "spiritual" jazz (ah, the Bastards neologisms!) will probably dig this one for the emphasis on modality and vampage. But I swear, I can honestly hear this as dance music, and I can actually see a club full of people dancing to a lot of it. Seems like what they're doing is taking Milestone-era type Tyner-esque vamps and making them a bit more "punchier", just a tad more stacatto and a tad more accented, with the emphasis being less on "flow" and more on "beat". And on the cut w/Pharoah, it all comes together. Pharoah has definitely put in some time on his embouchure. I gotta confess, the notion of people dancing to this type jazz is an appealing one to me. Ain't nobody listening anymore, but plenty of people are dancing. "By any means necessary", as the man said...

Hugo & Luigi Mario & Luigi Link & Zelda

It's not that far from "On The Corner" to a lot of things, although again, not too many of them are "jazz".

Hell, just getting to listen to Ricky Wellman would be treat enough. But there was always a lot more to listen to.

Otrie Barrett Audrey Meadows John J. Audubon

Please Michael, don't be trying to disappear!

As was "Four", the lore has it.

Trini Lopez Demi Moore Soledad O'Brien

I've been listening to On The Corner for well nigh 33 or so years now, & it gets better and more interesting with each listen. It's an album that definitely benefits from the "cleanliness" of digital. And it's an album whose influence still continues to reverberate strongly today, albeit not so much in "jazz" circles. I can still get surprised by it. The way I've finally come to look at it (and a lot of Miles' electric-era studio work) is that the music was Miles', but the album was Teo's. A detailed box set would probably be most illuminating as to sorting all that out, especially if they can include some of the really smoking live bootlegs from the same time. I also think that the post-comeback stuff, especially the live dates, is better than one might think. Some/most of the studio albums suffer from early digital-isis, but I've heard some live dates that are really, really good in terms of groove pacing, sonic texture, and rhythmic building. Definitely not as "edgy" as the pre-retirement bands were, but there's a whole 'nother trip going on that's not without interest to me, and definitely not low on quality and creativity.

Don't know if he ever took credit for it, but he totally fucked upoverout the original bridge...

Vic Tayback Baby, Who's Got Back J-Lo

That's the version I bought (& still listen to). Those late 60s/early 70s Prestige reissues are still a treat for me, mostlly for the liners, but also for the covers. The liners, wow. It's one thing to write read about a dead man, another still to read (as on the OJCs) about a live man's latest album, but something else entirely to read about a live man's older recordings written from the perspective of how much things have (or haven't) changed, and what the hell is going on now with that player and/or the music in general. Most of those reissues had 20 or less years distance between recording and the reissues liners. The battles were still raging, and nobody knew for sure what the end result was going to be. Great reading!

Looks like you should design a backpack big enough to hold an i-Mac! When one door closes....

Not a bad record.

The Dixie Hummingbirds The Ravens Bird

Foghorn Leghorn Sam Ervin Magic Johnson

Boris Koslov plays/played in Monday Michiru's group. Monday tells the story of him using that axe on one of her gigs and Sue getting all pissed because it's supposed to be used only on Mingus Big Band gigs. But between Monday & Alex Sipiagin (the MBB's lead trumeter & Monday's husband who was also on the gig) they patched things up.

Hey - while we're at it, can somebody explain to me why it seems like you can go to damn near any dance studio in America and study "jazz dance" from somebody who's never heard "jazz music"? That one's had me puzzled since the 70s.