JSngry

Fair enough.

Anybody see The Mind Reader & The Clock Monday night? Two lesser-known (I guess) films that made for a great evening of unhackneyed entertainment. Especially The Clock. I've gone almost 50 years without ever using "Judy Garland" and "sexual" in the same thought, much less the same sentence, but jezus krist, some of the facial expressions she gave out with in this movie were combined love and lust in a noearl;y overpoweringly sensual way I don't know that I've ever seen anywhere else. Wow... Tonight's The Odessa File, which I remember as being pretty good, followed by The Ipcress File, The Day of the Jackal, and Suddenly, which is a really good, creepy, relatively low-budget (seemingly) presidentila assassination flick starring Frank Sinatra as a war vet turned wannabe killer. Not a bad schedule at all.

None other than that I've heard it. I like Ware well enough to have not gotten rid of the CDs I have that he's on, but not so well as to be able to tell you want they are or waht, if anything, really stands out.

http://www.cosmicsounds-london.com/label/cs-15/cs-15.html Heard this last night and really dug it. Some hip (then)Yugoslavian Traneish stuff from 1976 & 1978, with tunes and grooves that are more 70s than 60s. Often reminiscent of the best Steve Grossman PM sides from the 70s, minus Grossnman's Gonzo Facto of the time. Not "heavy" like Trane, but still very energetic and sincere music that feels both good and right. Never heard of Tone Jansa before (maybe heard or read the name once or twice, but that's all), so what's the story with him? Is he still alive and playing? What other records has he made? Etc., etc., etc. My enthusiasm/affection for this "type" of playing is usually not extremely high, but this disc is an exception (as are those Grossman PM sides). Further enlightenment on Tone Jansa will certainly be welcome!

Straight ahead.

Well no wonder then! One of the real R&B players, the guys who played it vecasue it was in their blood, not because they needed a gig, and one of the guys R&B who could really play the saxophone, get the sound and everything. Those guys are as much my heroes as the jazz greats because they took the horn seriously, learned what it could do for them, and played music first and style second. YEah, this one's already been shipped. Anxious to get it in. Not familiar w/Belton Evans, however. What's the deal w/him? Always more to learn....

Some people built the road, others travel on it once it's built. Both are honorable, obviously, but the ones who do the buiding are always going to be extra-special.

After.

Those albums? Leave'em alone. All bun, no meat. Unless you like that kind of thing, in which case, bon apetit. Wiggins went on to be an official for Local 42, IIRC, might still be serving in that capacity.

Someone lied.

File this under "different strokes", of course, but for me, the audience reaction just serves to intensify what is already one of the most "on the edge" recorded events in the annals of jazz.

Well, look at who you got here - John Gilmore, Bobby Hutcherson, Duke Pearson, Grant Green, Butch Warren, & Billy Higgins. Take out either Hutch or Gilmore & you got some potential chemistry (Hutch being a "chameleon" of sorts in those days, and Gilmore being an excellent inside player throughout his career). But put Gilmore and Hutch together, ala ANDREW!!! and the "symapthetic pull" that the two might well exert on each other just doesn't go with that rhythm section. Put McCoy in for Pearson, yeah. Or put Joe in for Gilmore, yeah again. But as it stands, you've got the makings for a good quintet date, only you got six cats in the studio. Another factor as to way the date might not have gelled is a simple one - "personal issues" of any number of varieties.

Trane made that 1960 tour "under protest". He did not want to play with Miles then, or with anybody else other than his own band, which he was in the process of forming. Miles "cajoled" (some say bullied) him into making one final swing with him. According to several sources, Trane was very dark that entire tour, waiting for it to be over so he could get back home and get on with his own doings. Paris was the opening gig of the tour, and Trane's playing here is some of the rawest and most fervid he ever did, including his 65-67 things. Whether it was due to the audience reaction, Miles or somebody else telling him to chill out just a little bit, or just some internal editing, none of the other recordings from this tour show Trane playing like he did in Paris, not even the one where Miles didn't make the gig. Trane played spectacularly on all of these other dates, but Paris is something else entirely.

Probably not as often as they've heard "The Second Time Around"...

That whole tour was amazing, and all the recordings that have surfaced have been amazing on Trane's part. See here for more detail: http://www.plosin.com/milesAhead/Sessions.aspx Select "1960-1969" and take it from there. If you like Stockholm, try Paris. That's all I'm gonna say about that.

The later trios w/Cleveland Eaton on bass remain to be discovered by all but the crate-diggers...

Frankly, I see as much potential for this session to be a bust as I do for it to be not so bad. That combination of personnel has "hmmmm, I dunno....." written all over it. Everybody individually is fine, but together? Hmmmm, I dunno.....

So then, two very bad free beers? YOU HAVE TIME TO REVISE YOUR OPINION!

I'll buy the JC set just to finally get FREEDOM SOUNDS.

Eddie Jefferson + James Moody = Rightness.

Happens to all of us. No sweat.

Relax, it's just a thinly-veiled pesdonym he once used on a Paul Desmond Fantasy date.

Could you imagine me a clem in the same car? B-) ummm... Actually, I'm visualizing as ideologically filtered through

Could you imagine me a clem in the same car? B-) OH yeah!