JSngry

The Gambler sez: Anybody who says "Nurse Funkenstein" gets a kick in the nads. The Gentleman sez: As for "Bride of Dr. Funkenstein", I'd be honored, flattered, and not a little excited, but this doctor has been happily and loyally bridled, er, brided, er, MARRIED (whew!) for a good long while, thank you. But if there's ever a death in the family, God forbid, maybe we'll talk. Alright, so sometimes the Gentleman and the Gambler get their wires crossed. but hey - it's the new millenium. Roles get blurred? It's progress I tell you, PROGRESS!!!!

My status? Gentleman Gambler, same as it ever was.....

The power of a good union!

Very nice compositions on this one. Cedar's body of work as a composer is pretty significant when you stop and sort it all out.

Your avatar is making you even funnier! Like I said in another thread, you don't fuck with divine will.

Plans for WHAT "extra" hour? It's being held in escrow! Actually, I've come to enjoy DST over the years. When my kids were younger, it gave them more daylight to play in during the summer, and that's a good thing. They're both in their teens now, so it matters less to them, but I've gotten used to it. In our neighborhood, people are more likely to linger outside in the summer because it's light longer, so you get to see them and mingle some like you don't the rest of the year, which is usually a good thing.

I was thnking RCA-related, since Prado & Puente had such a long relationship w/the label, but who knows? Prado's pretty hard to miss, what with all the vocal insertions. You ought to send a letter to that address and ask the current box holder if they know anything about this. They probably don't but what have you got to lose besides 36 cents?

I with you on that one, too. But you know, pigs squeal the loudest just before they get gutted. That's a lesson from the country, doncha know.

He looks like a dog with a pillow for a body and a pudendum for a mouth. If this were ancient times, he would have been killed at birth. Instead he lives, and is photographed.

Occasionally there would be different takes issued, or even different, shorter versions recorded specifically for single release. But as far as I can tell, usually jazz 45s were either edited versions of the album cut or the full cut put on two sides of the single, with a fadeout/fadein between the sides.

Those alternates from UNITY are freakin' NUTS!

This is the St. Louis stuff recorded at The Barrell, right? Haven't listened to it in a while, but I remember it being rough-but-acceptable overall. It is what it is - a "found" document.

I think that was Max.

My favorite cut is "Tumblin' Tumbleweeds". I like the tune anyway, what with the chromatic changes and all, but these guys put on the boots and go all the way to town and strut, Miss Susie. Talk about a groove!

I don't choose my avitar. It chooses me. This recent one came to me in a dream, and its power was so great that I immediately woke up, made a u-turn, drove home, and set it up. You don't fuck with divine will.

In this case, I'd better know how I felt about them if I knew what they were replacing. Oh well, at least we get to hear Charlie Haden playing w/Trane, even if it is in the same way that Kenny G played w/Louis Armstrong...

The logo:

Inside the gatefold:

Pretty sure that COSMIC MUSIC's made CD in Japan. INFINITY was a posthumously released Trane session, and Alice overdubbed new rhythm section tracks and added strings. A questionalbe gambit at best... Cool cover, though!

It's gotsta be HELLA fucnky if you wanna have a mutha for me.

Maybe their server is copy-protected.

Hella fucnky indeed! Groovalicious and zonaphonic as well! This is one of my favorite Grant sides also. I think the unorthodox tune selection might be a turnoff (or at least a question mark) for some, but geezlouise, so frikkin' what? A tune's a tune. It is what you make of it. And everybody here makes hella fucnky!

What's next for CDs, copy-protected artwork?

Liebman pops up all over the Teo Macero CDs issued on Teo's own label that I've recently been delighting in, and I have to say that his playing in a variety of contexts ranging from all-out hard swinging post bop to neo-quasi-fusion to all out pop jazz in uniformly superb. Of particular interest is "The Death Of The Devil" from THE BLACK KNIGHT, where Liebman plas as uniquely personal a soprano style as anybody over a computerized orchestral backdrop that is totally "avant-classical". It's a rather lenghty performance, and is musically stunning and emotionally gripping every second of the way. It's a shame that such a major performance (hell, a major RECORD for that matter) has gone so completely unnoticed. Were it not for being able to get it for $5 at CD Baby, I'd not know about it, that's for sure! Although earlier Liebman still basically leaves me cold, the stuff of his I've heard from about the mid-late 80s onward has been much more to my liking. Problem is, I haven't heard all that much of it, so my opinion is still largely shaped by the Elvin/Miles/Lookout Farm years, where I still find his playing considerably less to my liking. But his work on all these Macero dates has me ready to look a little deeper into his more recent work. The guy's always been a player, no doubt, and maybe he's become one I will respond to better.

The Eddie Baccus date is very interesting as well. Baccus sounds very much like Kirk on organ, so much so that if I didn't know better, I'd say that this was a Kirk date under a pseudonym!