JSngry

Yep - wackinagoodway stuff galore.

Throw in some of the Les & Larry Elgart stuff to the list. They recorded a bunch of "pop" crap for Columbia, but they also had a good dance band book full of modern-ish arrangements of standards and such. Also, it was another one of those bands that was usally stocked with jazz players who did the gig for buckage. Whatever the motivation, though, the results were definitely not the usual stodgy dance band dreck, at least not when the charts and material weren't.

lp & I unfortunately seem to have a terminal "personality conflict", but I know enough of his involvement in collecting and researching stuff like this to not dismiss his claim out of hand. I would like to know, though, why the Monk family put it up on the site "as advertised" if there was some/any question as to proper attribution. I ask that not as an attempt to sideways discredit kp's claim, but out of genuine curiosity,

GOOD GOD! For twenty years now, I've been looking for somebody who actually bought this stuff in hopes of understanding why it's on the shelves of every supermarket, in spite of the fact that the shelf space is ALWAYS full! LOVE the packaging on the that stuff, btw. I'll read the box before putting it back on the shelf.

For the two live cuts, I would agree. Also, Tears Of Joy, and of course, Electric Bath. I've got a soft spot for Underground as well, but that's for personal reasons. Fillmore is just a cut below these for me because the soloing and writing isn't quite as consistently inspired. But like I said, when it's good, it's damn good, and it's good quite a bit of the time. And there are definitely two serious AFAIC classics on Fillmore - "Hey Jude" & "The Magic Bus Ate My Doughnut". The rest is none too shabby for the most part.

Jeremy Irons Putter Smith Hank Mobley

Overall, I think there's better Ellis on Columbia, but there's enough stuff on here that is just SO wackinagoodway that it's definitely one to have.

http://www.musicweb-international.com/ency...edia/b/B273.HTM http://www.jazzhouse.org/gone/lastpost2.php3?edit=978946033 http://www.lesbrownsbandofrenown.com/ http://www.bandsofrenown.com/default.htm Les Brown always had a good band, full of decent jazz players who were also expert section players. The arrangements were always top-flight as well. It was a dance band all the way, but one which went about its particular business in its particular niche about as well as could be done.

Nah, man, that's SOOO a 20th Century...

I ain't buying it. All that BN stuff might have slowed his career down, but, most likely, Tina's habit is what ultimately kept him down. BN did some people dirty, like Freddie Redd (according to him) & Horace Parlan (according to Ronnie Boykins, anyway), but they're still going. Tina obviously had the skills to do likewise, but skills is only half the battle.

Shocking, ain't it.

Graham Nash Clem Studebaker Garth Hudson

Cutouts won't save you any money, trust me. What you save in unit price you easily (and quickly) lose in volume. Trust me on this one...

Yes, and yes. For me, it's about tone first and foremost. The greats on any instrument all have their own distinct tone. From the tone comes personal nuances of attack/articulation, rhythmic idisyncracies, etc., all of which heighten the individuality. But for me, it all starts with the tone. You can tell Mingus a mile away just by the tone he gets, and regardless of what he's playing. Same w/Carter, Chambers, Haden, Pettiford, Blanton, et. al. Hearing the lower frequencies as cleanly as you do the middle and upper ones might take some "practice", but it can be done. The rewards are great, too, because so much jazz (and of all music in general, especially music operating in some form or fashion from an Afro-derived perspective) is built from the bottom up in terms of group dynamics. A great soloist will still be a great soloist in a band with a weaker bassist, but put a stronger player in for the weaker one, and the odds of the group turning into a great band increase exponentially. One of the first principles of "traditional" jazz I was taught was that a strong bassist can carry a weak drummer, but not vice-versa. I've since learned that that is not the case 100% of the time, but it's true far more often than not. And even in the rare instancew where a drummer can pull a bassist along, it requires Herculean effort, and the results inevitaly have a bit of "struggle" to them.

I'm totally cool with tone science. TOTALLY. But the notion that the only alternative route today is that of the "chord nerd" or some such leaves much to be desired, in both theory and actuality. And if Melvin Sparks is a chord nerd, well....

Into which of those two camps do Melvin Sparks, Pat Metheny, & John Scofield (to name but three) fall?

It's not modern. It's neo-modern.

Just finished reading this, and it was better than I had expected, at least in terms of deliniating Wayne as a person. Serious musical analysis is severly lacking, as is an "objective" perspective (Shorter's tendency to lapse into seemingly narcissistic pronouncements - which seem to stem in equal parts from his take on Buhddism and his accrued "Miles Royalty" trip - go unchallenged and unexamined), but if and when somebody decides to do a Porter-ish/Fitzgerald-Cohan-ish comprehemsive biography of Shorter, there will be much to draw on in these pages. Previously stated quibbles about style and content remain, but not discouragingly so. It's a good read. For what it is, recommended.

Loretta Young Jojo Daniel B. Wesson

Just be sure to take the rest of her as well!

Did ASAP like the movie as much as you did?

Maybe they came to the conclusion that they've reached an at least temporary dead end playing accoustic, "traditional"-based material, and they want to see what can happen by drawing on "popular" textures and production concepts. Thing is, that's the same conclusion Miles reached after taking much the same path they've taken. It's like Miles said about early Wynton - "Didn't we get it right the first time?" Well, yeah, they did. And they got it right with the electric stuff the first time as well. How long before these neo-electic-Miles guys figure that out? If it's true that those who do not learn from history are doomed to repeat it, is it equally true that those who repeat history are doomed to not learn from it? What's going to happen when all the history's been repeated verbatim? Like Mingus said, roughly, after Bird dies - who are people going to steal from now? Truthfully, I do find the trend towards some of the neo-cons moving forward as to where they do their looking back to be a positive step, at least in tems of them coming out of their holes abd getting in touch with the reality of modern life. But geez, 1970 was, like 35 years ago, and a lot's changed since then, even if it's five years less of change than since 1965.

Sonny jumped?

25% off, supposedly, and that still leaves most of the CDs going for $14.22. Not a great price, to be sure, but otoh, this is a catalog that overfloweth with "mainstream" titles of all varieties, so, if nothing else, you might want to peruse the listings just to see what's available and find a better price elsewhere. 130 titles listed! Check it out: http://www.allegro-music.com/label_search.asp?label=CRD