JSngry

Indeed.

Same here.

I'd rather have HALF a diamond in the rough than a million cubic zirconia.

Indeed. Perhaps the cloning of Getz is just the tip of the iceberg...

Well hell, I'm late again.... Best wishes, and may the tires on your car be the rubberiest thing you ever have to sit on.

Belated recognition to Jack Washington of the "Old Testament" Basie band. He didn't get to solo much (on record anyway), but when he did, it was always good.

I'm with you on all of this, but apparently this IS a Getz clone, and I believe I have identified him. No More Calls, Please, We Have A Winner??? I suppose that since Getz is dead, and this cat sounds EXACTLY like him, that we should accept the fact that...... Getz is still dead....

Karma's a bitch.

Well, if she's convicted, he'll have sit across from her rather than stand by her, right? Not HIS fault!

It's not. But when presented as such, I think that whoever does so is trying to make the point that there is "music" in everyday life. Sounds colliding in harmony/dissonance, individual rhythms interacting in interesting ways, all of it by chance, yet somehow there's an overall shape to it. I'd imagine that the presenters view it as a kind of "sensitizing" experience, an exercise in encouraging the listener to hear the poetry and music of their immediate surroundings. It's there, and quite often, it's delightful. The cool thing is, you don't have to buy it, send off for it, or otherwise look for it. It's just there. Always. It's free, and it's never the same twice. The ultimate improvisation. Having said that, though, since I figured this stuff out more than a few years ago, and since I'm still going through life hearing like this, it's the LAST damn thing I want to hear when I turn on the radio. (But it's NOT a bad idea at all to listen for the "music" in our daily activites. Really, it's not.)

Pat Patrick plays on A.K. Salim's AFRO SOUL/DRUM ORGY, a beautiful gem of an album on Prestige that has a fronline of himself, Yusef Lateef, & Johnny Coles playing over an African drum choir. Not likely to be reissued on CD anytime soon, I'd think, because of it's "eccentric" nature, but well worth picking up if you find it on vinyl. I saw Mario Rivera playing tenor w/a Tito Puente-led Latin Jazz All-Stars group in 1981, and he BURNED (among others in the band were Jorge Dalto & Andy Gonzalez. A very "avant-Latin" leaning band and a very great one). Ditto for the bari solo he plays on TIPICA '73 EN HAVANA, a salsa album on Fania. This is one interesting player that I have a hard time finding on records. But the cat is a serious player "deserving of wider recognition" as they say.

Ya'know, I don't know whatever became of Bruce Johnston, and I didn't care for New York Mary AT ALL, but he played some pretty spirited bari w/Maynard in the early 70s and gave a good showing on Braxton's Arista big band album, so i figure that anybody who can cover that much ground sucessfully doesn't deserve to be forgotten. Besides, he played bari to where it sounded like Gene Ammons. Gotta love THAT!

What Rudy needs to do is re-record the last sustained piano chord that is the end of "A Day In The Life".

No mention of Leo Parker yet?

Sounds like the facts to me, Bev!

Well, yeah. That doesn't say that he destroyed the tapes or anything like that, right? Just that he never sanctioned their release during his lifetime. Well sir, the Pablo album came out in 1976, so... Still, there is a grey area, isn't there? I'm inclined to believe that this is the recording that was pressed into that single petal of a rose (sorry....) if for no other reason than the band is WAY more in tune and together in their attacks and releases and dynamics and all that stuff than usual, which leads me to believe that this was a "special" recording session and not a "workshop" date. But I could be wrong. I do know this much though, I was ALL OVER this album when it was released, because I had Ben doing "Single Petal Of A Rose" in duet on one of those Impulse! DEFINITIVE JAZZ SCENE compilations that was long OOP, and other than that, I had heard nothing else from the suite. But that one piece was just SO beautiful and moving that I figured that the whole suite performed by the full band just HAD to be a mother. And when I bought the album, ran home with it, and playedit, I was not disappointed. When John McDonough gave it a 3.5 star review in DB and compared Duke's writing on "The Queen's Suite" to Henry Mancini(!), I just about got into the car and drove to Chicago to punch him out personally (you think I'm opinionated NOW... ). In a long list of flat-out ignorant Down Beat reviews, THAT one ranks in the uppermost echelon, to be sure. BTW, do the OJC liner notes reprint Dances' liner essay from the LP? In them, he tells of how Duke came to meet the Queen. Pretty funny (not laugh out loud funny, but amusing, nevertheless, I think) stuff.

Sure. I just take it for granted that when I somebody else talks about things like "depth" and "substance" that they're just expressing their own opinion (I know I am) an proceed accordingly, unless I get the impression that an edict from on high is being handed down, in which case I usually rebel, even if I agree with the opinion. I used to be real careful about adding "in my opinion" & stuff like that onto every sentence (or so it seemed), and still am sometimes, but these days I figure that we all know each other well enough that it pretty much goes without saying that for most of us, these are opinions being expressed as such, and not attempts at writing The Ten Commandments in jazz terms, if you know what I mean. I'll give you an example - Lon & I hold totally opposing viewpoints on latter-day Wayne Shorter. TOTALLY. But I've know Lon long enough to accept that, because I know him to be a great guy with a lot of knowledge and very acute ears. So if he's wrong about Wayne (JUST KIDDING!!! ), I respect his opinion, because I know it's coming from somebody with enough knowledge about and sensitivity to the music that he's GOT to have some good personal reason(s) for feeling as he does. Similarly, when I post really RAVE things about this stuff, he doesn't bust my chops on it, because I think he knows ME well enough to respect that I've got some deeply persoanl reasons FOR liking it. In spite of all the strongly expressed opinions masquerading as "fact" in these forums, I doubt that there's more than a handful of individuals who REALLY believe that their opinions, no matter how passionately felt or deeply informed, should pass as gospel for anybody besides themselves. They'd not last long if they did. Of course, everything I've just said above is STRICTLY my opinion, so...

I was under the impression that this WAS the original/only recording of the suite; that Ellington only had one copy PRESSED, but that this was the recording from whence that pressing sprung. Stanley Dance's LP liner notes certainly imply that, althought they don't say so specifically. No matter, it's a marvelous work, and the band, early 1959, is superb. A "must have" in my book.

Now available as

Pablo.

Great stuff, and a somewhat overlooked document in Trane's evolution. Well worth getting into, and at length. Some much music there.

Yeah, kids need to see that their parents are human too....

In many ways, my singlemost favorite Bari solo is the one that Fathead plays on Ray Charles' "Greenbacks". Not particularly "heavy" or anything like that in terms of chops or vocabulary, but a beautifully structured, organically balanced 12 bars that has a Zen-like perfection to it. If it were THAT simple, everybody could do it.

I know quite well what 'depth' and 'substance' mean to me, and offer no apologies for doing so. But I'd not be so presumptuous as to assume that that's what they should mean for anybody/everybody else. The cliche "you gotta stand for something or else you'll fall for anything" rings totally true to me, but so does "beauty is in the eye of the beholder". Balancing those two premises is an ongoing, often frustrating, contentious, and perplexing struggle, but that's half the fun of it all, I suppose. "From the oyster comes the pearl", doncha know. Cliches - if they didn't already exist, we'd have to invent them!