JSngry

Partch was stilll very much a cult figure when I "discovered" hum for myself in the 70s. I'd say that by any reasonable deinition of the term, he remains one today, unfortuately... Aric, next time you get a chance to see the original "Mothra", check out the song the two girls sing in their cage. Pretty darn interesting. Now if you want to talk about "exotic" music and Hollywood, remember that California, and the whole Pacific Coast area, historically had an influx of Asian peoples and cultural flavors a lot earlier than the rest of America did. Probably a geographic matter entirely. But I'd think there had to be all these "exotic" strains in the air that had an effect on the overall esthetic of the region, just as the American South is steeped in African-American influences and the American Northeast is in the various European immigrants' cultures.

Glad to see everybody back. Let's all stay on it. Weiz, best wishes to and for your wife. Did not know about that. Gotta be rough. Keep the faith.

If you see it, buy it!

Nah. With tenor and organ, we're talking one of nature's great combinations, like ham and eggs or Jack and Coke.

Your parents played?

I thought it was some Rastafarian thing.

Actually inDEED!

A six-pack is more of a breakfast-through-lunch continual thing, not a breakfast by itself. Pacing, a lost art?

Ra was into all kinds of "exotica", and I don't doubt but that he had heard this.

And may I say how nice it is to once again hear the term channel!

It was actually a bit of an "event" when Cadence went to the alternating label/artist scheme. Rousch seemed adamantly opposed to it, but finally yielded/compromised to reader desires. He once explained his rationale as being a reaction against and a deterrent to the "star syatem", that sorting by label forced the reader to look beyond their favorite artists and might possibly stimulate curiosity about something or somebody new. Whatever. I will say that when the Italian grey market labels were in full swing, being able to look by label served a purpose - you never knew who or what was going to be on those labels.

Maybe you're confusing Harper w/Adams in the context of Gil Evans' band?

But........the syrup's BAKED IN! (and if you go to the "right" McDonalds, you can get a "different" kind of syrup, if you know what I mean... )

It's different. not worse (or better), just different. People often have different stories to tell, or different ways to tell them, as they grow older, and often, battered. It's just my opinion, of course, but I think the Changes albums tell every bit as compelling a story as do the earlier works. The "tone" is different, but so were the times. Hell, so was the man! Records are just documents. Sometimes you gotta dig WHAT'S being documented rather than WHO, figure out the difference (and the commonality) and put all that in context. Again, just my opinion. But I think it's selling both an artist and one's self as a listener short if one let's one's "image" of a significant artist (and lord knows, Mingus qualifies as one of those!) be limited or formed strictly by their "classic" work. What is viewed as "classic" is in many instances a snapshot of a relatively brief period in a much longer life. Oftimes, an artist's "Classic" work spans only 5-10 years out of a career that covers a lot more than that. Does the artist cease being relevant or interesting? Sometimes, sure, if they just coast or otherwise stop being involved with life on anything more than a "professional" level. But sometimes, the storytelling skills remain intact, but take on a different tact, and that's what I think happened with Mingus. For one thing, he got back in touch with his "Inner Tristano" after a 20 or so year hiatus. Why? I don't know! But it's one of many things I hear in later Mingus that I don't hear in the "classic" stuff. Different times, more life lived, different tales to tell. different perspectives on life. Why not? Again, this is all just my 2 cents worth, and I'll give you a nickel to take it off my hands for me!

The beauty of the blur!

I always thought of it as a fanfare to introduce the record and establish context for what follows. Sorta set up the ensuing conceptual trip through the "misty world" with snippet of the bright, agitated "real world", and them OOOF - you're somewhere ELSE entirely (and Elvin, just as he did on A LOVE SUPREME, handles the transition PERFECTLY!). The intro that Lester Young plays on his Verve "Somebody Loves Me" has always struck me like that too - just a little something from TOTALLY somewhere else to emphasize the DIFFERENCE of where you're going from where you're coming from. But maybe I imagine too much.

Yeah, I dig Foster too. Just know that he has made "better" records than MANHATTAN FEVER. Not bad, by any means, but don't spend Boldencylynder Bucks on it, if you know what I mean.

From what I've heard of Phil Grenadier, I think he could bring out the playfulness that is inherent in much of Hill's music, but that a lot of players seem to overlook. I like the Bakida idea too, as well as the Rava & Wheeler. How are Bill Dixon's chops these days? That might make for a pretty interesting duet session...

Well hey - besides Parker, Red Tyler's on bari, Paul Gayten's on piano, and Frank Fields is on bass, along with one Justin Adams on guitar. How is that shit NOT gonna swing?

Yeah, but if the best has already happened... I can't afford to go there, I just can't. I WANT to a lot of times, especially in the dark times, but I can't. I shouldn't. It's wrong. I'm only 47. Oh shit - that means my life is probably moe than half over, doesn't it? DEFINITELY can't afford to go there... Anywayz.. Boy that Stitt sure could play, couldn't he!

It's this Argo 1957 single by somebody named T.V. Slim. Great tenor solo by Robert Parker, and some DEFINITIVE drumming by the great Charles "Hungry" Williams. I've had it for 20+ years on various anthologies, but last night I put on the CHESS NEW ORLEANS set at work, and when that song came on, I just looped it for over TWO HOURS. That's how strong the groove is on this badboy! We can only use headphones, or else I'd have had the whole crew jammin'! Flatfoot Sam bought an automobile. No money down, got a heck of deal. Didn't wanna work, just ride around town. Finance cumpny put his feets on the ground. Flatfoot sam, you're always in a jam. Sure, it's not "you are the promised kiss of springtime that makes the lonely winter seem long", but hey - IT WORKS! And DAMN was Hungry a BAAAAAAAAAAAAAAAAAAAAAAAAAADDDDDDDDDD Muthaphukkah! "Flatfoot Sam" - ask for it by name.

Sax is better.

I'll take a McGriddle, thanks! (the syrup's baked in, ya'know)

One might be tempted to ask if it's the magazine that's gotten worse or the jazz scene in general if one did not fear being prematurely nostalgic...

I meant that Adams, at least the recordings I've heard him on, tended to be a bit "undisciplined" in his playing before his encounter with Kirk. Kirk basically plays him his whole solo back in, what, 4 bars?, and then moves on. And on. That's a "lesson", believe me, one that any musician would find impossible to miss. Coincidentally or not, Adams became a GREATLY more disciplined and focused player afterwards. Don't get me wrong, I LOVE the cat, but early on, he coulda used some self-editing, or whatever you want to call it, which he certainly developed late on. As for Mingus's energy level, you gotta remember that the guy was pretty heavily medicated at the time, and began getting ill shortly after he came off the meds.. And aside from that, the edition of the band that had Hamiett Bluiett in it along with Adams & Pullen cast Mingus for the first time in the role of "musical conservative" in is own band! His comments at the time seem to indicate a mixture of feelings about the "wilder" elements being brought to his music. Crazy, eh?