JSngry

In the 60s, it seems that you would find a good bit of Getz, Wes, and other Creed Taylor/Verve records, as well as the Eddie Harris and Ramsey Lewis Soul Jazz. So proto-CTI was already in the mix, as was what would be the 70s funk-jazz.

Yes, I know. Larry and I have debated the issue at length. We simply disagree. "Frustration" about people like Sonny, Art Pepper, Miles, etc.srems to be rooted in the players not doing what we think they should be doing. I tend more towards trying to understand why they are doing it and going from there. In Sonny's case, there's a lot of reasons, a lot of struggles, and a lot of triumphs as well. I'll be writing an ongoing review of every one of his Milestone records here, in chronological order. At least one of them is a near-total disaster, some are indeed frustrating, a lot have one or two "why couldn't the whole record be like this?" cuts, and a few are true delights. I've decided to "show my work" about all this, in detail. No minds will be changed, I'm sure, but I'm tired of this sweeping dismissal with equally sweeping generalizations.

That's unfortunate. Did they at least pay you? Or did they just reach out and snatch it like it was theirs to begin with?

The 70s version.

They were going for a quick grab of the apparently notorious Jazz Wave Ltd. tour that was passing through. The Hubbard I have always loved for it's sheer gonzoness. The Davis...has its moments. But the group photo on the inside of Hub looks like the fellas are all pretty lit. And they play like it! Love it when the lubrication achieves the desired results. It doesn't always!

1. I had it in Windsor. Does that count as real? Or is that tourist poutine? 2. It was served with a little side of ketchup. Our server said that a lot of people like that. Was she bullshitting me, was this some kind of hazing ritual, or what? 3. After initially having been repulsed by the ketchup thing, I began to liberalize my mind about it, tried it, and actually liked it. A lot. Was this a sin, did Satan actually come into my body through my ketchuped poutine? I experienced internal bodily pleasure in a foreign country. Now I am unsure of my moral standing in the great race of life. I need the guidance of some serious moral adults. Serious replies only, please.

So was MPS, LOL!!!

Based on my smallish sample size, UK-based jazz today is on the whole far more interesting than it has ever been. Seems more indigenous and less imitative and/or reactive. Feel free to correct me if I'm wrong.

Both of them. This one has the bonus of some fairly frisky Joe Henderson! It's not really Columbia, though, it was Tappan Zee, Bob James' imprint. What factor that has been in the non-reissuance, I do not know.

Not really feeling the stilts on this one...somebody forgot to tell Jack, maybe.

Birdie Pardee - You're A Doll, Thanks!!!

Fucking is music only more direct. In between the two there is dancing.

The two jazz charts were a 70s invention to account for the fusion explosion and the resulting controversy. Prior to that there was only one jazz chart, and what was on it explains a lot. At least what I saw of it did.

Whoa...

Essential Messengers, but not at all previously-unreleased. Still, a chance to carpe diem!

Nice! Will get to those!

This Rat Patrol episode today feature Claudine Longet in a dramatic role. But she does play a singer!

He did two for the label. I think they could both fit on a single disc? This cut is not really representative of either record, but nevertheless, both are fine and fun. And this cut alone is priceless.

Ordered. Thanks!

https://www.dustygroove.com/browse.php?cat=classical&sf=quartet&incl_oos=1&incl_cs=1&kwfilter=quartet&format=lp Current listings.

Keep Hold Of Yourself is a bit of a sleeper. Junior Cook on CTI!

After posting, I cheated as much as I was able, and no regrets about #2, not really. Maybe another cut would have landed better. But #9...I have that record, got iy years agou, but rush-listened to it and the filed it away. A horrible mistake.... Your BFTs usually have at least one PSA cut, and on this one it's #3. Talk about a missing link...even if it is after the fact. Newark!

Care to share your Amazon link, please? I can't find one at all. Will do a DL if necessary, but it's not necessary? Thanks for the heads up. Really do want to hear these things!

Scabbberblabbing while wondering what happened to promises, guarantees, and dangerous bubblegum. I offer none of those, have looked at a few responses, but am copping none of them for my own, under mattress tags of lawful intercourse. TRACK ONE - This does not exist without Chico Hamilton, but this is not Chico Hamilton. But it is two guitars, one way or another. Our gracious host has dropped a few hints, and I'm going to use them to make an entirely unfounded guess and say Dennis Budimir. But searching Discogs shows no record that matches this lineup. That proves absolutely nothing. Nice cut. TRACK TWO - Uh....ok. This might be more interesting if there were more machines and fewer people. Might be. Textures are good, pocket is way too stiff for my liking, and the melodic line is redolent of nothing to which I would aspire to inhabit, or to be inhabited by. Kinda like Zawinul if Zawinul had been white. Maybe if I was really lonely I could feel something for it, but I'm not lonely, I'm just tired. TRACK THREE - This is a trip. It sounds like a Larry Young band with somebody copping Charles Lloyd's groove but not sound. It's not Buddy Terry is it? No, because that sure seems to be Elvin. I will be disappointed but not surprised if I either have or do not have this record. I like this one a lot, some hip shit indeed. It takes true character to play the tenor like that! OH FUCK - THIS IS BUDDY TERRY - "The Revealing Time" The Newark-only Unity, not Elvin, Eddie Gladden, Not Joe, Buddy Terry. HELL YEAH!!!!!!!! My apologies FOR NOT LISTENING LONG ENOUGH THE FIRST TIME TO GET TO wOODY sHAW. tHIS IS A MONSTER CUT, CRUCIALLY IMPORTANT, IMO. everybody LOVES UNITY, BUT uNITY WaS A STUDIO BAND, THIS IS HOMETOWN MUSIC RIGHT HEAR, ATTENTION MUST BE PAID!!!!!! TRACK FOUR - Sounds like some almost-overarranged Julius Watkins. I don't know it. The solos give some breathing room. Soloists sound like some very capable (or better) 'followers". It's good. TRACK FIVE - That's interesting. I feel the shadow of Paul Bley, but a supportive shadow, not an enveloping one. Frankly, the note that this pianist is a sometimes poster here tell me all I need to know. I like this one too., as the Paul Bley pianistic lineage is one of several that have gone unnoted for far too long. TRACK SIX - YAH! TRACK SEVEN - Ok, I get that a lot of people hate this guy, and often enough with at least casual reason. But it's too easy. Everybody here can play, and in this case, the material is a solid germ of an idea that gets developed in a thoughtful and linear manner. Haters gonna hate as they say, and groupies gonna group, but for everybody else, there's life in the case-by-case lane. In this lane they're being joined by Les McCann who waves and says, hey, whatever, you do you, I'll do me, let's both get paid. And so they did! TRACK EIGHT - The Dynamic Duo! I remember how this album got a lot of mixed reviews, and ok, but...seriously? Masters gonna Master any damn time they want to, any damn way they want to. TRACK NINE - Whoa! That's some writing, very Mingusian. And serious tenor playing to go with it, in it, of it. If this is Teo's writing, it's not Teo's tenor, that's for sure (but both are more than very capable, don't sleep on Teo the musician). No matter, marvelous music in both conception and in every aspect of execution. What's the rest of the record like? TRACK TEN - Oliver Lake, probably from his first Gramavision. Nicely played. At the time, I felt ever so "slightly" about those records because they struck me at the time as being just ever so slightly overtly Dolphy-esque, which in retrospect was a pretty silly/dumb notion to have. True enough (maybe...), but so what, right? Heard today, this is a delight. TRACK ELEVEN - Is this a bamboo flute? I've no idea where to begin for guesses, so I'll just enjoy it. TRACK TWELVE - Oh, moody! In a good way. Sounds sorta like Bohemia-period Mingus, but only sorta-kinda. No matter, very nice! TRACK THIRTEEN - Head sounds like Elmo Hope, solos like Bill Evans until not, obviously neither, so what other tricks are there, or is this it? I mean, what can you say, it's pleasant, I wouldn't kick it out of bed foreating crackers, at least not the first time. But short leash after that. OTOH, there's a lifetime of work that goes into doing "even" this, and that should damn well be respected as such. Hey Joe, it's been years of pleasure listening to the various musics that pass through your hands, ears, and mind. Always a pleasure. Always!