JSngry

I can see right now (as I could when I did the compiling...) that Track 9 os gonna be a, er.... "tough sell". No matter. I can see how the instrumentation/textures will put some (most? all?) y'all off, but afaic, what's being played us a total gas. Not at all cliched, extremely creative, actually more than a little wack in places (check those keyboard lines in the solo, and the tenor attacks/articulations), and totally fun. I put it in because it's a pretty goofy piece of music, goofy in the "how the hell did they come up with THIS crazy shit?" kind of way. Not but a handful of musicians could come up with what constitutes the innards of this one, never mind playing it like they do. It ain't a buncha fuzoid kids fresh outta Berklee, if you know what I mean. But hey, that's just me. Pretty much expected a lot of derision on this one, so no hard feelings at all if everybody dumps all over it. But I will predict this - sooner or later, somebody will name the players, and everybody's opinions will remain exactly the same.

You had a reel-to-reel deck that had a turntable on top? Wow, the mind reels, no pun intended. Gota picture of that puppy? I'd love to see it!

I'll beg to differ, at least a far as Wilton Felder, and to a lesser extent, Joe Sample, are concerned.

Yeah, but if Bob Brookmeyer's anywhere near it, I'm steering clear.

You might enjoy this one:

In the melodic lines, anyway. That shit is freakin' devious sometimes! But it wasn't until much later (and often away from Lennie) that, in particular, the drummers started getting in on the fun. Was Elvin on Motion the first recorded example of a "Tristano-ite" playing with a drummer who broke up the time as much as the soloists did?

No tenor solo on #6, and the drummer is known, but not well-so.

With that photo, the album title actually serves an informational/educational purpose! (tacky, I know. Sorry...)

Nate, #6 isn't overdubbed to my knowledge. Two pianos in real time. The compressed sound is, unfortunately, courtesy of the original LP. This label seemed to favor that type sound on many of their releases, for who knows what reason. Most unfortunate... And I think you (and others) will probably be surprised as to the identities of those involved on track 2. Not film music, nor borrowing from film music (not really), but... I'll leave it at that for now. Let's just say that in this case, this might be considered "film music" in the sense that "hot jazz" might be considered "cartoon music"...

I've heard a 1999 Halperin/Mosca duet disc that is absolutely mesmerizing, which is not necessarily to say that it's "perfect", because it's not. But good gracious, those two get into some pretty interesting deepness, and if it's got a purer-than-pure Tristano-ish sheen to it that by definition pushes it aside into a realm of its own self-referentialdom, so be it. It is what it is, and it's gonna be what it's gonna be. This is it:

What's not to like, eh?

Oh yeah - the lyric on Track 3 is "Oye mi saxons, que ritmo tienes.", which translates to "Listen to my saxophones, what rhythm they have!", a sentiment with which I fully concur.

No ****!

Wondeful responses so far, and more than a few correct guesses, whether intentionally or not (sometimes first impressions are correct, btw ! I suspect that Mike Weil will be the first to nail Track 3... The fade in (and out) on Track 6 was my doing, and was done solely for time consideration. So, any and all displeasure/disappointment with it is entirely on me. Interesting to hear the varied responses to the various singers. And I'd like to suggest paying close attention the the tenor player on Track 14.

I think we've got enough copies in hand now for discussions to begin w/o guilt!

Yeah, PLEASE don't throw yourself into the briar patch.

Far be it from me to offer advice, but redoctopus certainly did me right, so some of y'all might want to carpe diem on this bad boy, just in case DG snafus...

Richie Cole?

Richie Cole?

Richie Cole?

Richie Cole?

Gary Smulyan? Why?

Well, yeah, but there was a sort of "gentlemen's agreement" not to get really rolling until the sets that the distributors had sent out had been received.

His book on arranging (The Professional Arranger Composer) was "standard" for many years, and is still a good primer all these years later. I know I worked through it back in the day.

Threre were 37 targeted recipients, so if 19 have received the sets and are ready to begin discussion, then that's over 50%. Barring any strenuous objections, I think that's a good point to begin general discussion. I've already received several interesting comments through e-mail, and would like the discussion to be public as much as possible. So howzabout a quick check-in? Who's ready to begin discussion?