JSngry

Surely more people than this have confronted this record in some fashion?

I see it in the printed word reasonably often enough. It's a good adjective!

Norton True - Ice In Our Drinks, Flowers On Our Grave

I always think of Emma Goldman when I hear the name Emma. Are we still using Edith, or did All In The Family kill that one?

Are they listening to music, or are they interpreting data that they think represents what music sounds like?

So it seems!

Maybe that Rick Beato guy bugs me?

I find a lot of it a bit "detached", but that song just jumps out at me every time I hear it (as befits the lyrics). It's a mean song, an angry song. Webb could do that! And it's very Bachrach-y in its way, the displacement of the lyrics in a way that lengthens the phrases, the use of that major 7th opening chord (played in a country way!), it's just a marvelously crafted song and arrangement (country guitars and pop-sawing cellos, all with Glen Campbell soaring over it all in just the right ways at just the right times. "Three chords and the truth" emo-manipulative crap will always have a market, but craft, skills, knowledge of both humanity and its mechanics, that will always stand after the rest of the world crumbles (until it too crumbles, in which case, hey, game over anyway).

Ok, here we go then! TRACK ONE - Familiar in all ways except specific name LOL. It's good, I like it. Very well-seasoned, players who are not just in a bag, but in a life. TRACK TWO - Piano, yes! Scatting, uh, respectfully no. I see Jimmy Rowles has already been identified, and yeah, for the piano, that's apparent-ish. He's got a kind of slashing touch, but he's very specific about it, I enjoy him much. But that scatting...he scats like he's playing a bass solo, if that's any consideration. But then he goes into "All Too Soon"? wtf????? was it this all along? No, it was not. TRACK THREE - Yeah, this is a mindfuck. Upon further thinking, I was once told a story that comes back that makes this cut have some sense to it. More upon the reveal. TRACK FOUR - How I feel about this depends on what I think it is I'm hearing. It almost feels like a "classical" ensemble, only they're using American root-jazz as their basis. That's totally cool with me, and as such, I enjoy it. If they're supposed to be actually playing American rooty-jazz, then...no thanks, it doesn't feel particularly rooty. So through one lens, pretty much totally successful, through another, pretty damn much jivey, But the orchestration is really well executed, no matter what. TRACK FIVE - "Cubano Chant", but by who? Pretty easily sleuthed, and I'm kinda surprised that it's Gato. He sounds older and more tired than I would have liked, only giving himself away at the end of the solo. Andy Gonzalez on bass is always a good thing! And Bob James! TRACK SIX - Oh my! That's a goofy intro, in the best possible way! "Desafinado", surely one of the earliest versions, Brazilian record? Only not with that bass sound...this is beautiful. There's a place for making things happen, but there is also a place for letting things happen, which is what is happening here.. Just SO damn beautiful. The Portuguese lyrics flow so much more musically than do the English ones...can I marry this record? TRACK SEVEN - Interesting vocal style, a bit of Flamenco flavor? I can say that I am appreciative, but not particularly moved. My problem, not theirs. TRACK EIGHT - hmmm....it's a "Footprints"..."homage", I suppose...but it's got that early digital hollowness to the sound and nobody really does anything to elevate it past the homage level. But that's Kenny Burrell, maybe. The problem with these type things is that people have gotten so good at re-creating the original voices that it stops mattering if it's real or if it's a re-creation. That kind of pisses me off, not this record in particular, just the whole trend, the replicability of originality. It's devaluing and only brings on the Borg. Id do kinda like that trumpet solo, though, sounds like some thinking is going on. TRACK NINE - HA! Not sure what or who, but that's totally on it. TRACK TEN - Red/Rowles, I like it. TRACK ELEVEN - Nice, intimately played. But I personally don't get a strong feel for it right away. It is very empathetic between the players, that I can feel. Definitely sounds like people wo niether mean nor do harm to and in the world, so kudos for that, for sure. TRACK TWELVE - Ok, THAT sounds like Gato, and very nicely so, from the same album as #5, and a lot more meaningful performance, imo. Gato was really one of the great melodists of the tenor, imo. TRACK THIRTEEN - That's really nice. Your hint leads me both to the record as well as to a recognition of this Herbie Nichols composition. Just wonderful. TRACK FOURTEEN - As much as I truly do like the instrumental arrangement, I dislike the vocal. Intensely dislike, in fact. I suppose it's all part of a piece, but so is liver and onions. Pretty nice compilation, Mike, and thanks for highlighting the HipBop Essence label. There were some interesting records done there, ones that I had forgotten. Good to be reminded!

The lady who lives across the street from us is named Emma, and she's late-20s or so. "Purloined" in the news: https://www.reuters.com/legal/litigation/case-possibly-purloined-van-gogh-can-courts-decide-if-painting-can-be-seized-2023-01-27/ https://see.news/tel-aviv-manuscripts-ankara-israeli-rescue-team https://www.casino.org/news/las-vegas-lawyer-to-pay-ronaldo-335k-over-palms-rape-claim/

That's pretty much every Sonny Stitt solo ever, all rolled into one. Plus a small dose of multiphonics to boot!

Pretty sure there's parts where McLaughlin is playing multiple parts.

Today.

Wish somebody had done something like this with George Duvivier.

I bet he lived in Galveston.

A church service?

There's more overdubbing on that record than I had originally realized. Interesting!

Yep. One more way in which my confidence that people know "what" it is to which they are "listening" falters more or less daily.

Propylene Glycol - The Best of Propyline Glycol!!! (+ All the Greatest Hits As Well!!!)

Am I the only one who sees "RSO Releases" and keep thinking it's for this...

and "Jazz Hangover".

You will come for Stitt, but you will stay for John Board!!!! At least I did!!!!

Turn It Over is definitely a more clued-in production. Certainly a more "listenable" album. But it sorta sounds like a willfully better-behaved beast. Emergency has that beast prowling and growling and eating things alive with blood going everywhere and half-alive carcasses stinking up the place while the beast gets busy on new prey and all that kind of thing. I've had it in the car for 2+ weeks now and the "fascination" level is only going up. It's also - and this is where it's kind of stealth - the best example of Tony's drumming of that period. You kind of get a taste of it on Filles, but a taste is all you get. This is the full thing unleashed.