JSngry

Quite the story indeed!

Huh?

You're thinkng of Patsy Cline...

And oh yeah - welcome to the board!

I can't prove it, but I'd guess that it's as old a manuever as improvisation itself.

And I will say that I agree with you, but not to the extent that it cancels out the sense of "appreciation" I've come to develop for what Rouse accomplished with Monk. Like I said, when I started really getting into those tunes seriously, my opinion of him went from "Oh god, this cat's a drag" (I was like you - could not handle listening to the cat) to "hey, this cat had some shit going on!" What he lacked for in being able to put anything special on the "outside" of the music, he made up for (to what degree is a totally personal call) in showing an understanding of the "inside" of the music. No small feat that, and unless/until you've really tackled playing the Monk repertoire beyond a superficial level, perhaps not a feat that reveals iteself to any ready extent. I also think that Rouse is heard to fuller, better advantage outside of (and in the years after) Monk, but that's another matter altogether.

And an opinion shared by others, I'm sure.

Then again, it was a helluva lot easier for a 17 year old to get laid in 1972 than it was in 1952, or even 1962, so what we're seeing might well be the continuation of a long-term trend, not a "problem" that was "created" by the hip-hop generation. In fact, I'd say that the qualities of "explicitly playing out the same semi-barbaric adolescent fantasies" began to be exhibited in Rock music long before it did in hip-hop. Gangsta started hitting big around the mid-1980s, long after any number of metal bands had had a great deal of popular success serving up explicit violent and/or sexual fantasies. Prior to Gangsta, hip-hop had been mostly feel-good party music and/or serious street social commentary. But the guardians of the culture want to focus on hip-hop as the instigator of moral decline, for reasons that are obvious, I think. I say that that this "decline" is a continuation of a trend that began long before hip-hop, and that there were other popular elements there long before hip-hop. A trend accellerates, doncha' know, and we didn't get to where we are overnight. Rob Halford was there long before Luke Skywalker, and there were others there long before him. Don't believe the hype, as the man said... Far more interesting to me, from a sociological standpoint, is that hip-hop, by and large, is the first African-American popular music form that doesn't have some kind of roots in church music (this is not always the case, but it is far more often than not). The implications of that are more complicated, nuanced, telling and significant than any talk of explicit adolexcent fantasies now being acted out with relative ease. But y'all don't hear me now...

Don Schlitten's American studio of choice from the late 60s onward seemed to be RCA, and his American engineer of choice seemed to have been Paul Goodman. Before the late 1960s, he seems to have used Rudy, but not exclusively. For instance, Dexter's "Power" albums were engineered by George Klabin at an unnamed NYC studio. Bob Porter seemed to have always used Rudy, as did Cal Lampley & Ozzie Cadena.

Not really knowing anything about Jan Arnet other than his appearance on the Ervin date (and a recently obtained Chico Hamilton Solid State album), I decided to AMG him, not expecting to find much information. Boy, was I wrong!

"Locomotive" is like that too. There is a story behind the title of "Oska T", but I can't remember what it is...

I've long appreciated Fantasy's "old school" business model of having a deep catalog available over an extended period of time, treating a catalog as a long-term investment rather than as a means for quick profit. Apparently this has been greatly facilitated by their unique(?) warehouse/cost-center dynamic, about which all I can say is, "BRILLIANT!" I've long appreciated how, when I get the bug for a certain artist contained in Fantasy's catalog, I can go ahead and get their stuff without a lot of work and/or worry. It's always there, and getting it has never been an issue. I get these bugs regularly too, btw, be it for the Sandole Brothers, for Sam Cooke, or for Ernie Henry. or for Lawrence Ferlinghetti, or for anybody else. The new ownership undoubtedly has some "new ideas" for the higher profile items in the catalog. Fair enough. but as a consumer with "deep" interests in the type of material that the Fantasy group has so long offered, I can only state that availability means eventual sales. The type of consumer that I and the others here represent may be a minority in the overall demographic, but we do have one thing in going for us - we buy music, and we don't stop buying it. You'll not get rich off of us, but we'll keep you in business. And if you don't need our money to stay in business, we can still generate enough revenue for you to have some pocket change. Not very glamorous, to be sure, but who doesn't need to use a vending machine from time to time? We don't want/need for you to "love" us. Just keep making the product (new & existing) available, take our money, and we'll call it even. Deal?

How much improving can a cat do on stuff that was recorded in a living room?

Fanny, Masked Marauders, Cactus, Josie and the Pussycats, etc. Not sayin there's not a market or anything, but c'mon, who's really gonna listen to The Masked Marauders for anything more than a chuckle?

Damn straight. Next thing you know, Concord's gonna be coming out with a Wilbur Ware album called The Chica Go Sound...

Those 70s LPs seem like a prime Rhino Handmade project, no? Hell, they did the crap that was Sly Stone's Warner Bros. recordngs, and lots of other crap too. The 70s RC albums are certainly no worse, and are at times worthy of the earlier Ray Charles Atlantic catalog. Just a matter of time, I'm sure...

Sorry, brain fart, just came in off the road. It's "No Moe" that Ayler plays.

I buy their stuff, all genres, every year, year in and year out, some new, some old. There's so much to get that keeping it in print on an ongoing basis as they have all but guarantees sales! Discontinuing items, otoh, will have the opposite effect. I can't buy what isn't there.

Dude, they come after you as soon as you turn 50. How much more of a "preorder" do you want?

Have you heard Keystone 3? that one's a little more together, I think. The time on those first two seems a little uncentered. Maybe it's just the recorded sound of the bass, I dunno. To be honest, this mid/late 1970s phase of Messenger-dom is my least favorite, but I'll let it go at that. More to my liking is the fourth Concord, New York Scene, with Terrance Blanchard, Donald Harrison, Jean Toussaint, Mulgrew Miller, & Lonnie Plaxico. The "revivalist" flavor of the earlier albums/bands (at least that's how the records came across to me, although, it being Concord and all, maybe that was a record company move) was all but gone, and what you get is a very nice collection of neo-con Young Lions who sound less in awe of the "Tradition" as did their various immediate predecessors. Normally, that's the kind of thing I run like hell from, but it works well here. The same band did a video from Ronnie Scott's that is now available on DVD btw. Pretty nice, and although that whole generation's deliberate "aloofness" during this time (they take Plugged Nickel Wayne abstractionism as their point of departure and destination, only they leave out the warmth and humor) is at odds with Blakey's core values, it all comes to a satisfactory compromise in the end.

"All" four Night releases were exceptional, imo, including the Les McCann, which is perhaps the real sleeper of the bunch, containing as it does terrific performances by Stanley Turrentine. Roberta Flack, & Eddie Harris, not all of whom appear with McCann...

In 1992? Well, that was only..... DAMN, THAT WAS THIRTEEN YEARS AGO!!! AND I WAS ALREADY 36!!! Thanks, David, you just fucked up what's left of my afternoon...

Indeed. And it also shows that what "the public" thinks the music is/ought to be "about" and what the players themselves think about same only sometimes intersect.

Ain't that the truth. Picked a bass clari last year and I'm still getting to grips with the thing... The 'bridge' between registers is a bitch! ← Oh hell, bass clarinet is a freakin' BREEZE compared to "regular" clarinet. No holes to cover, and BOY does that make a difference! I came to clarinet at age 18 from saxophone, which just didn't work. I learned to play it well enough to pass my juries/proficiency exams, doubled on it in dance band/show/etc gigs for a few years (and got my ass kicked by "Ebony Concerto" in the process) and finally let it go. It's a really beautiful instrument when played well, and I realized that I would never be able to play it well unless, maybe, I gave up tenor completely. Ain't no way that was gonna happen. Learn it early, that's my advice. Wait too long (and it's less of a window than you might imagione, at least it was for me), and it's an uphill climb never fully conquered.