JSngry

Oh yeah - on Track 8, it's not the singer's date, and the ID of the altoist sort of ties the whole track together, both on its own terms and in context of the album on which it appears. This album may very well be her only recording, and I think it's safe to say that the altoist is only slightly more familiar, although there are those here who will not be unfamiliar with him. She's definitely got more feel than chops but I dig her vibe.

Oh, you should've heard the first one I did. This one's homogenized by comparison! Really, I had narrowed down what tunes I was going to include to about 500 or so , but then when it came down to the actula moment of recording, ended up using only about 7 or 8 of them, I'm guessing. Why" Circumstances, I suppose, that and my natural improvisational nature. I began recording the discs at about 3:30 AM on a Sunday morning, when the house was dark and quiet, and when "marital relations" had me feeling calm and contented (too much information, I know). So most of the really "difficult" and possibly "controversial" stuff went forgotten as the vibe of the moment took over. There was, however, a fair amount of whimsy in the selections, as well as in the sequencing. How well that conveys itself, if indeed it does at all, remains to be seen and is, of course, highly subjective anway. I'm either "love" or "hate" with singers as a rule, but that one's easy - I dig singers, perhaps more than the average jazz fan. Maybe it's the musician in me, but I really dig hearing how singers deal with phrasing, nuances of enunciation, and interpretation of lyrics. Gives us horn playeers pause for consideration when we get to thinking about our music in purely technical terms, gives us "another way" to approach our instrumemts. Plus, a singer can be really successful at creating a mood, since they've got the advantage of the lyrics. What more direct way to "tell a story"? So, I guess you could say that I like these particular singers on these particular numbers for the vibe they create, which is a vibe that most instrumentalists can't create, not exactly (although they can certainly enhance it!). Not necessarily a "better" vibe, just a "different" one, and one which I dig. But that's just for certain singers. Others drive me from the room screaming and reaching for firearms!

MAMBO!

Seems odd that they've not hit the UK yet, although perhpas recent events might explain some of that.

That song "Tracy" was pretty sappy. Didn't know they did anything else.

Tito Jackson Marshall Tito Carrie Nation

Look! Up in the sky!

BOGGEY!

Who knows?!?!?!?!

Better the crap you know that the crap you don't know, apparently...

WELL deserved! Now, how much of a break on a WFIU coffee mug can ya' gimme?

Well now, ask yourself this - was the focus of the article supposed to be on Miles Davis or George Avakian? On what George Avakian did for Miles, or what Miles did for/on Columbia after Avakian got him there? Can't tell for sure? Neither can I! But that doesn't mean I didn't enjoy reading it anyway!

HALLEDAB'LLDOJAH!

Inner Urge or Our Thing, depending on what mood I'm in. Thos two are masterly statements of What Joe Henderson Was. In' N Out gets an Honorable Mention, and that trio of albums sorta forms the "Must Have" Henderson BN list for me. Page One seems a bit truncated, and although I love the writing on Mode For Joe, the actual playing by all concerned falls into the "you can hear the same thing only better on other albums" category for me. But I've run into a lot pf people over the years for whom MFJ is a serious favorite, so hey, just goes to show ya'.

ZEE-HAH!

Apparently your rebuttal was not so subtle. Good Thad Jones tune, BTW. ← Apparently not, and yes it is!

I feel a Gary Puckett song a-comin' on...

Joy. We had joy, we had fun... Or so I've heard...

AWRITE!

Yeah, even of I don't care for McDonough and have qualms about what he wrote, hey, I still enjoyed reading the article and appreciate having it posted here. If I gave the impression that I didn't, I apologize. My "dispute", such as it was, was in mild rebuttal to Dr. Rat's point, and then one thing led to another...

No, you haven't told me that before! Wasn't Jim Peterik connected w/both bands somehow?

It'll pass. It always does.

Before your time, probably, but I remember one day in Gladewater when the conditions were just right and I was able to pick up KNUS one afternoon (could usually get them only at night). This was back when they were an "underground" station that did their share of free-form (as well as where I first heard Ayler & late-period Trane...). Well, this afternoon, the DJ started fading in and out between the first side of Jack Johnson and the opening cut of the first Chase album, the instrumental "Open Up Wide". He did it so seamlessly that I, who was just discovering jazz and didn't know the difference between Miles Davis and Miles Standish (or between Chase & Sanborn, even though that was the coffee my mom bought...), though it was all one piece of music! Soon enough, I found out otherwise, but still, that was a pretty nifty piece of work!

Was that place on or near the corner of Peak & San Jacinto? I lived in that neighborhood for a while, across the street from some church.

That's precisely the quality that is appealing to me, how Sonny is very much feeling out the rhythm section, especially the drummer (who is more than happy to engage him in a discussion). It's totally non-"presentation" oriented, wholly an "in the moment" kind of thing, and if it's more about the process than the results to some ears (and I'm perfectly willing to admit that it may very well be exactly that), it's still the type of thing that you just don't get to hear much on record. Guess it depends on how much interest one has in the process itself as to how this type of thing will ultimately resonate. But when the feeling out is done and Sonny snaps into "Four", WHOA!