JSngry

Dino Saluzzi.

Pops Poopadeaux. Where's the love?

A different kind of Mulligan Sextet on PJ: Mulligan, Paul Palmieri - guitar, Dick Wetmore* - violin, Calo Scott - cello, Vinnie Burke - bass, Dave Bailey - drums, NYC, December 5, 1957. Full album recorded, only four tracks issued, and then only on the SONGBOOK CD. Ripe for inclusion, especially if the other cuts can be included. *Such a name!

Same. Although, I think that Chronological Classics might be the de facto choice for many of them.

"well" is a relative term. Fusion and disco-ish jazz raised the bar as far as what "jazz" sales could and should be. Look at a label like Muse (or Concord, for that matter) - no "big sellers" in "conventional" terms, but they sold enough units to stay in business for a good long while. Consider this - if Wynton and al the other "Young Lions" REALLY? "revitalised" mainstream jazz sales, where's the money, where's the contract extensions, where's the local club scenes, where's the non-allstar touring bands, where's the major label mainstream jazz programs, and WHERE'S THE MUSIC? Like I said, don't believe the hype.

Or maybe sales of electric jazz were so (relatively and suddenly) high that they made the (relatively) normal and consistent sales of accoustic jazz suddenly seem "small" by comparison. Chuck, Chris, and Bill Fenohr would be the guys to go to for a really accurate answer. They were actually selling records then, I was just buying them.

Is the answer unliving? Or on it's way to it.

Thanks, Jim. I was going to ask you to do that. Soooo...electric trumpet in the house, maybe... COOL!!!

That's how evolution is supposed to work, right? (rhetorical question) yes, and Wynton's is yet another experiment, nothing more, nothing less. Yeah, but it's an experiment that has sucked up a lot of time and money that ain't gonna be replenished any time soon. Time will tell if the "meteor" really did kill the dinosaurs. If not, I hope I live to find out. If so, hey, it was fun while it lasted. Tell your grandkids to smile when they put me in their tank. I'd want it that way.

Not too far off, actually, at least as far as "mainstream" reaction went. Most jazz people weren't ready and/or didn't have the frame(s) of reference to get it.

Other than the Mosaic set? Da' Bastids got it for the usual J-buck price, but I want something more...DOMESTIC in cost. Hell, maybe I should just eat air for a few weeks and buy the Mosaic now. I'll eventually end up doing it anyway...

That's how evolution is supposed to work, right? (rhetorical question) And if evolution is natural, then not evolving, or trying to reevolve by starting over or some such is unnatural. And if natural=living, what does unnatural equal? The answer is obvious, I think. The musical equivalent of genetic engineering came to town. They killed the music in order to save it. How fucking charming. Better quit. I feel a rant coming on.

If this would require the average woman preferring men with obsessive-compulsive Cd-buying habits, I'd say the plan is S.O.L.

Plus Kenny Drew, NHOP, & Alex Riel, 1-30-65. Some of my most favoritest Ben is the Black Lion stuff.

The Columbia Dexter & Woody stuff sold pretty good, iirc, as did the McCoy Milestones, the Gato Impulses, Charles Earland on Prestige, Bill Evans on Milestone, and on a smaller scale, lots of things on Muse (notably Houston Person, Etta Jones, Richie Cole (yuck)) & Inner City (not BIG sales, but enough for the labels to keep craking out product on quite a regular basis). Claims that the 1970s were some sort of commercial Dark Ages for jazz are highly overstated, I think, perhaps even revisionist history for self-serving ends on the parts of some. The decade got off to a slow start, still shell-shocked from the rock thing, but gathered steam as it went along. Once Newport moved to NY, things seemed to pick up. Sure, the whole fusion/disco thing resultedin a lot of disposable music getting made, but there was other good stuff going on, and it was not without a market. Plus, there were plenty of smaller indy labels getting reasonable enough distribution. Don't know that they SOLD all that well, but they were out there, new music (not just new product) was getting into the stores, in the press, and into at least some listeners' homes. All things considered, I'd say the overall state of jazz was actually healthier in the 1970s than it is now. In other words, don't believe the hype.

To be more specific a complilation of various Black Lion (aka 1201) dates. All of which are exquisite. Selections from these seem to form the bulk of the compilation. Like I said, exquisite.

Looks like Black Lion stuff to me. Which is GOOD.

If you want to stretch the definition of "young" just a little and go in reverse, Waymon Reed & Fred Wesley both went from James Brown to Count Basie, although at different times. And Shelley Carrol (GET THE LEANING HOUSE CD BEFORE IT DISAPPEARS!!!!) put in many years w/Mercer Ellington. In fact, he still does the Ellington thing when it happens, which isn't very often.

Definitely is.

I apologize for not sending out blindfolds with mine. Sad to say, it's going to happen next time, too. So I guess I'm not really sorry, am I. Damn Lutheran inferiority complex. Not even becoming Methodist can get rid of it.

I'm tripping on that Bud Freeman cut. Never would have guessed him. Shows you how much more I need to learn. Certainly edjumactional, this one was, and as Al said, great fun to boot!

Hey, you can't spell "Text" (sub or otherwise) without "Tex". But we can do our best to teach our kids how not to read it!

How's the side w/Patty Waters?

Dude, that sucks. Hope all is well.