JSngry

Don't let the stars get in your eyes. Don't let the moon break your heart.

Andrew Cyrille drives the bus on this one!

Theo Geisel? Dr. Seuss?

I'm on my second play of the first disc and am liking it just fine.

Missing the dog, but that Chester Thompson record is badass too.

Tozer Flemigan - You Got It Wrong (But That's Alright)!!!

Bobbi Jo Strunge - Memphis Fried Lovebird

The last theatrical intermission I recall was an early '80s screening of Napoléon. It was both logical and welcome. Such a densely packed film!

Hard Work was a really big R&B hit, both as an album and as a single. But it never did that muchfor me, except give me another number to play on the band set.

Noop Jard - Scuffolders Unite!!!

I found an older record of a Cantor in the dollar bin. Carpe diemed.

I've known players with GREAT ears get lost on one or two of the solos on that Warne record (there's a volume 2 as well!). There's next to no piano on it, so you gotta follow the bass line along with Warne. It's a tricky proposition sometimes! And hey - the best was to follow a tunes is quite often to follow the bass line, not the solo, and not the comp.

Joe Williams sang songs really well. ALL songs, including "blues songs". To silo him off into "this" and "that" is a leftover of a marketing mindset. An enlightened 21st Century outlook calls for looking at music such as his wholistically, finding the real crafts and the real arts, the core of his singing. Then, if you just absolutely HAVE to market Joe Williams, market ALL of him as a single piece, because everything he sang was of a single piece. Are we ready to go forward in our thoughts, or are we forevermore stuck in the record store filing system?

Joe Williams sang songs, period.

We'll see...

I had that same thing happen to me on a different set. It all worked out, but there was some real frustration in the process involved on my part. Still, they got their money and I go my records, so hey.

RIP

Like Son House?

Would it have killed them to includes Jaws In Orbit? Damn near the same band... I get it, Complete cookbook recordings, but technically, Smokin' never bore that designation either. So....missed opportunity for a better value. Now let the Abhorrentians come out with the four from Craft + plus some other hijacked version of this fifth one as The Complete Prestige Lockjaw and Shirley. Who makes these decisions anyway? I'd rather pay a little extra for the 5th record and skip the t-shirt (which I am doing anyway).

Jimmy Rushing and Ray Charles were totally different singers, so which "class" is this?

Uh .. if it did originally come out on Saturn, then by definition it is not an IC original. The number of people who actually saw it doesn't change that. Now the question is- did it actually come out on Saturn at all?

How about just that he was a master singer, period?

Up to a point, yes. After that point, it does become subjective. But people who want to think that there is no such point at all are The Enemy. You gotta be careful about that though, because also a factor is what are YOU looking for? Still, at some point, objective truth is a very real thing. I love to use Pharaoh Sanders' work with Trane as an example - those who insist that all Pharaoh is doing is just randomly squealing and shit like that are TOTALLY wrong. He's playing off the natural overtones of his instrument and he is in fact pretty damn organized about it. And DEFINITELY in control of it So that kind of talk gets zero cred from me. Not liking it is one thing, but that's totally NOT the same as cluelessly IDENTIFYING it. And anybody who thinks that that difference is not real and meaningful... Alternate Facts live there. I was taught this lesson by John Purcell. I told him that I loved the Special Edition records he was on, but hated the ECM sound of them. He gave me a look and asked me why. It's a full sound, no highs, just a dullness I told him Well, he pulled me over to a turntable and put one on, then started fiddling with the EQ to very insistently and convincingly make the point that there was PLENTY high end on that record, listen to the stick on the ride cymbal. But what Eicher was doing was pulling back on the mids to emphasize both the top and the bottom. "You gotta be careful. Don'tsay wrong shit. The people who know are the people who can fuck you up when the time comes ." That's what he told me, and that's the lesson I learned. Don't say wrong shit. No matter how many people will believe you, the people who know can fuck you up when the time comes. There's enough people gonna fuck you up as is. No sense in not having truth/reality on your side where and when you can.