JSngry

Indeed it is!

http://www.kiddierecords.com/ Check out Week 10! It's... Week 1 is kind of weak, but that's just Weak 1.

"Cilantro" is Spanish, I believe. Our language, like our people, aren't dangerously inbred. Yet. Except for certain rural communities and trailer parks. So, you put it in your mashed potatoes too? EX-cellent!

Like I said, people must really like to screw in March.

You Brits call olive oil cilantro? That's just wrong, Bev, WRONG.

To put it mildly...

Almost?

http://www.dccblowout.com/showpages.asp?pid=1037 I'm sure there's validity to all this, but otoh, wouldn't you have to have too much time on your hands to get this deep into it? Perhaps not, but I don't think I'll ever be able to find out...

AIR-WAH!!!

I concur completely.

...can these "bonus points" be redeemed for anything ? Bonus points are their own reward! (you're not buying that, are you....)

Interesting info about Gale, Harold. I wondered about that... Listened to this album over and over all last night (making up for lost time, I guess...) and the thing that struck me was how unified this thing is compositionally. That "Bachrach" theme (nicely put, btw), that little shy melody that speaks of being battered yet still, somehow, somewhere, retaining an inner optimism, albeit a pehaps fatalistic one, is pretty much the basis for the whole thing, and it gets treated every which kind of way, some/many not readily apparent until you realize that's what's going on. Plus, there's motifs, melodic and rhythmic, that get introduced one way and come back in totally different ways, in the foreground and in the background, all throughout the piece. To me, that's where the "story" of the music is - following the themes and motifs through their various incarnations/permutations and seeing what "changes" they get put through. It's got this in common with the way some sountrack writers will base an entire film score around one theme and just do all sorts of things with it - invert it, reharmonize it, use the shape of the melody w/different notes, use the same notes w/a different melodic shape, etc. Fascinating to follow, at least for me, and not something I really grasped about this work until several listenings. The "casual" listen is not likely to reveal this to the extent that it occurs (he says from experience...), and maybe that type of listening ain't to everybody's liking, but if it is, this thing is rich in it. One oddly touching moment - during a string variant of the main theme, a clarinet (iirc) plays a variant of "Daisy, Daisy, Give Me Your Answer True" that resolves into a harmony note of the other theme. Something about that gets to me, and it works really well in the context of the work's full title (America The Beautiful: An Account of its Disappearance). Something about that "days gone by, never to return" thing connects well to the concept of an once beautiful and relatively unspoiled country forever changed... Funny, on the surface, a lot of this music is sort of faceless (and doesn't really encourage deeper, analytical listening), but the more you dig into the innards, the more meat there is. Glad I dug this one up and out after all these years. It's turning out to be very rewarding!

NO ARIC, THIS IS NOT BULLSHIT. THIS IS FACTS. Trevor Lawrence played on Reuben Wilson's ON BROADWAY (BST-84295). THE REST YOU CAN CONFIRM YOURSELF. And if I'm wrong, you can have my list of hot redhead female jazz fans across the USA. There's more than you think... But if I'm right, I get to come to your house and take all your tapes. Every last one of them. Deal?

Pretty much all Hemphill is essential afaic.

Now with two video clips: http://www.woodyshaw.com/audio_video.htm "Stepping Stones" is pretty damn hot, btw...

Well, then, it's hardly the best solution then, is it... One of those generic "latin" or "rhumba" beats on the snare (w/the snare off) and the rims that jazz drummers notoriously play whenever you call "Latin" would have worked better than the ching-ching-ching metronome thing. "Authentic", no, but hey, jazz drummers, especially back then, are/were often notoriously unauthentic when it come to things Latin, so what's one more unauthenticity? Maybe Philly wasn't "in the mood", or maybe Thigpen was late to the date. Whatever, the fact that he plays so unimaginatively and cuts out after one tune tells me that there's more here than meets the eye, even if not the ear... Re: Harry Tubbs, all I could find was that he also did some arrangeing for a Cleanhead Vinson date on Bethlehem, (see here) and that his son is a sax instructor at Malverne School of Music, Inc. Quoth the Internet: http://home.flash.net/~smtice/staff.htm AMG takes you straight to Harry Babasin, which is all well and good, but like Philly's drumming on this cut (the opening section, anyway), not really desireable for the circumstances.

Who says you can't improve on perfection?

Is "Ralph Kaffel" the new name for "Neville Chamberlain"?

Thus the significance!

InDEED!

Oh, I see where you're coming from. Well, yeah, ok. There are moments of "Space age Pop"-ness. but plenty other moments are anything but. McFarland had serious chops as a serious writer, regardless of how "soft" his work often was, and there's some of that in the mix here, too. Not SERIOUS, ya'know, but serious. "Unclassifiable" definitely works, though. Definitely. Now, if you want a stoopid-fun Gary McFarland record, try BUTTERSCOTCH RUM, and album he made with cartoonis/vocalist Peter Smith. People either love it or hate it (mostly hate it), but I myself love it in spite of itself. Imagine Brian Wilson at his very best meeting some hack singer-songwriter at his worst, and that'll give you the tip of the iceberg.

There's a live thing on Hindsight that I bought last a few years ago where there's lots of solos. But only one by Warne Marsh. Bummer, I bought it specifically to hear him. But I guess the Supersax guys (the other saxists, anyway) all thought he was wierd or something, which tells you a lot about where that group's head was at.

No. Male.

No.... damn! Not even close eh? Nope.

Just curious - does the DCC reprint the original liner notes and the 1958 essay by Marya Mannes? They go a long way towards "setting the tone", I think.