JSngry

Virgil Thomson was apparently an important figure at one time. My personal jury is still out on that importance, although I've only heard a few things. This String Quartet is "nice enough"...but the Quartet is in great form. And the last movement does take it up a notch. The William Shuman piano piece is actually very enjoyable, and might not sound "classical" to certain "jazz" ears. Pianist Beveridge Webster certainly has a name suitable for jazz and a touch not terribly far removed from Ran Blake or the more nebulous side of Paul Bley. Certainly pulled me in! You know, I looked and realized that I do have that record on a scratchy LP that I pulled out of the used bins precisely because it was JSQ. I do recall playing it through a few times and thinking that this was probably going to be a close as I was going to get to actually LIKING Mozart (although I'm leaving the door open for the operas at some point...DVDs with subtitles preferred!)

It almost sounds like a post-Creed Taylor CTI record. And it also sounds like Rouse may or may not be playing over tracks.

Fresh ears did indeed help. Hearing the details inside the devices did wonders! Next up in the box: Very much appreciate the execution, but...no thanks. Had the same reaction to the Mozart disc in The New Music String Quartet box of a few years ago. Love that cover though!

They can tend to blur together, so I am going to listen fresh tomorrow. I just heard a lot of "devices" along the way. To be fair, it wasn't all that. But it was what caught my ear this evening. I've learned to "never say never", though, especially after just one listen (Mozart is coming pretty close though...God only knows why). That's a big reason for this Juilliard project, to check out a LOT of repertoire as well as hearing the evolution of a single band. So much still to learn... I have a Milton Babbitt record by Parnassus. Got it at the tails end of my last swim in those waters, so it's there to come back to with fresh ears. Good band, for sure. A lot of this type music sounds to me like what Stan Kenton would have been commissioning if he had any real sense about what he thought he was doing. He got lucky with Graettinger.

Ability to play, ability to hang. And maybe no (or minimal) bullshit in either. https://en.m.wikipedia.org/wiki/Adam_Rudolph Rudolph grew up in the South Side of Chicago among jazz and blues musicians.[2] In 1988 he met jazz musician Yusef Lateef, and the two would go on to collaborate and perform together for the next 25 years.[3][4] In 1992 Rudolph helped found the band Adam Rudolph’s Moving Pictures, “a malleable group of improvisers“, as Jazz Times described it.[5] He has been the artistic director of and composer for Hu: Vibrational with Hamid Drake, Vashti International Percussion Ensemble and Go: Organic Orchestra. He has performed as half of the Wildflowers Duo with Butoh dance innovator Oguri.[6] Rudolph has released several albums as leader and has also recorded with musicians Sam Rivers, Omar Sosa, Wadada Leo Smith, Pharoah Sanders, Bill Laswell, Herbie Hancock, Foday Musa Suso, and Shadowfax.[7] So it sounds basically like he paid attention to where he was and didn't try to explain it, just got in there and kept getting in. From 1978, when Hamid was still Hank:

Maybe I'm tired, but first impression is that these compositions benefit greatly from the performance, not unlike a Sonny Stitt record where the tunes are tired but the playing is anything but. Still, the writing does sound a bit incestuous, to be honest. Music selected by a committee, who should be surprised?

This music has FIGHT!!!

Who is the market for this?

I had the album back then and found it underwhelming . It does have its adherents though.

All the Dameronia records are worthwhile!

So it's not a secret code?

I know that. I'm asking what the code is for Lon using different sizes for different posts.

Thanks! Useful!

Thanks, preordered!

What's the code for tiny font vs large font?