JSngry

Finally, FINALLY got to hear Music Written for Monterey, 1965, and hearing "Once upon a Time, There Was a Holding Corporation Called Old America" (aka "The Shoes of the Fisherman's Wife Are Some Jive Ass Slippers") & "Don't Be Afraid, the Clown's Afraid Too" in their earliest(?) raw incarnations served the dual function of providing, as of now, an endlessly fascinating series of listenings/learnings and highlighting yet again just how great, truly great, a work is Let My Children Hear Music. Some music "stcks" for a lifetime. So far, the music of Let My Children Hear Music is doing just that. Whatever the directional opposite of a bottomless pit is, that's what this music is for me.

I was born in 1955, but was a politically "aware" type early only, chomping at the bit to get out of rural East Texas and into some churning waters upon graduation from high school in 1974. Well, by the time September, 1974 rolled around, Vietnam was "over", Nixon was out, and the first layer of Civil Rights reforms were firmly in place. What was left needing to really be done was refinement and continutation of the broader "concepts" of the 60s, neither of which seemed to me, then and now (especially now) to be things that younger people had the maturity (and politiicians the natural tendency) to pursue with anything resembling earnest dilligence. So when I arrived at college, the campus was all abuzz over the police crackdown on last semester's big activity - streaking. What was in the air was a spirit of celebration that we had come as far as we had. We thought we had "won". Well, we had, but winning is not the end, it's just the beginning. But not enough of my generation saw it like that. So staying the course, as they say, to the final destination took a back seat to celebrating (and celebrating) the fact that we had gotten the car out of the garage. The 70s were about to begin in eanest. While we weren't looking, though, "the establishment" was quietly figuring out, finally, how to cater the party, as well as laying the groundwork for the after-party, of which they would be the sole sponsor. Dark times lay ahead, and still do.

Well, Kenton is still free .... maybe it's something for you? ← Hey bub, I gotcher artistry in rhythm right HERE!

"Conventional wisdom" has it that when Sonny is "on" live, he's all the way on, and when he's not, he doesn't even try to pretend that he is. That's different most players, who have many different levels of autopilot. I myself don't believe that this is completely true, but it does seem to be truer of Sonny than for most.

Have they gotten dates yet? The dance is only a few weeks away...

http://www.organissimo.org/forum/index.php...opic=2565&st=0#

One Way.

I'm gonna sit right down and write myself a letter, And make believe it came from you, I'm gonna write words oh, so sweet, They're gonna knock me off my feet, A lot of kisses on the bottom, I'll be glad I got 'em! I'm gonna smile and say, "I hope you're feeling better," And close with love the way you do; I'm gonna sit right down and write myself a letter, And make believe it came from you! Yeah, Sonny!

Yep. I brought that arrangement into an R&B band I was working with about 5 years ago, and it was a hit with the players and the dancers both. The classics never go out of style!

Or Brian Epstein...

My guess is that their favorite Beatle was Paul...

I found the LP back in the 70s, when I was at the height of my "militant jazz purist" attitude and didn't care for it at all. All it was was groove. Came back to it a few years later and loved it. All it was was groove. Go figure.

He's BACK!

Has anybody ever heard this item? http://www.dustygroove.com/latincd.htm#397446 Ray Barretto/Brock Peters -- Mysterious Instinct Charlie Parker/Blue Moon (Spain), Early 60s A very unusual session for Ray Barretto -- one that features plenty of his great work on conga, but which is also strongly focused on the lead vocals of singer Brock Peters! The album's a mixture of traditional numbers and original compositions -- done with an exotic Africanist bent that often features plenty of percussion! Barretto's working alongside Sticks Evans on tympani, Chief Bey on conga, and Al Leas on bass -- in a driving groove that booms alongside Peters' deep-voiced vocals -- all in a mode that's almost folksy, but which has a tighter, jazzier feel -- one that almost recalls some sides of Oscar Brown Jr's work at the time. Titles include "Water Bird", "Go Round The Wall", "Sorrow Valley", "Sing A Man", "Papa Zimbi", "Gambler", and "Gonna Leave You Baby".

Thank god! I thought it was saying "Poor Soul Who Is Sick Of Jazz"!

Yes.

Both discs, I hope!

I'll not at all disagree with that, Mike. Not at all.

Well, yeah, but I also hear total command of the limitations, so we're possibly getting into the realm of what's a limitation and what's not, which I really don't care to get into. But the thing that strikes me most is the impeccabilty, the purposefulness of his "microtiming" (if that really means anything) and his various attacks and dynamics. Not at all unlike Monk in end result, although, of course, in a totally different idiom using totally different raw materials. Different but alike. Or vice-versa. So, whatever that means, there it is!

Thanks. Coming from a man who shows no small mastery of the form himself, that's quite a compliment! Please expound on this. I don't know, man, how do you think I see Wood? If you think that it's as anything other than a truly great musician who met an equally truly tragic demise, you're wrong.

No surprise here. I've always thought that people who complained that Dylan "can't sing" were missing the boat entirely. His incredibly precise timing and controlled manipulation of vowels is easily the equal of Sinatra's, although, obviously, entirely different. Same for his harmonica playing - no accidents there. None.

If adjectives help, Malaby's got the more "fluid" style and less "strident" tone.

Yes.

What does "Val-Air" mean?

Go for it. It ain't world-changing, but it sure don't suck either.