JSngry

They used to pound it into our heads, "Before you can break the rules, you have to know the rules". What they didn't tell us was that their ultimate rule was that you never break the rules. Automation is the ultimate outcome of rules that won't be broken, or never even desired to be broken. Keep it between the lines!

They started fixing vocals via punch-ins, when, the late 50s? A little earlier? Laying down tracks before that, right? That what the Musicians Union was all about, protecting human labor. It worked splendidly until it didn't. It's not the technology, it's the people using it. Shallow people, deep people, everybody got access to the same tools sooner later. So if you want a job done right.. Andy and Thelma Lou gonna be sitting out on the front porch around Andy's laptop. So be it.

Fwiw, that's my favorite Syreeta record, period. Not even close

There was a time when this would have disturbed me. That time has long passed. This is the game plan of any institution, be it corporate, educational, cult, mass media, you name it. They want you to learn their rules to do things their way so as to create a market to get other people to want to do things their way, over and over again. If you break their rules, you will either be stomped down or else your rule-breaking will become acceptable and then they're figure out a formula and then add that to their rules. This is not about music, not even. This is about product, period, controlling the means of production from start to finish. There's an audience for it, there always is. If there wasn't, the "average consumer" would be drowning in excellent choices that go outside the box. Instead, there's a line waiting to get inside the back. Some friendly advice - stop waiting for any commercial institution to do something good for you. That's not really why they're there. Are you ready to embrace the underground, go all in on not being even a a partial part of this mainstream of manipulation? If not, just shut up about it. And I say that with love in my heart and clarity in my head.

I would be remiss if I didn't also point out the other half of the Bartz-Syreeta collaboration, an absolutely splendid Leon Ware joint! Rhetorical question - How do you not like that!!!!!!

I got a new look at the roots of Al on that Henry Jerome airshot. Wonderful stuff!

I like the dancing a lot. And DJ Paypal is the best name yet in this still new millennium! As for the music, I'm an old guy, getting older, so I don't immediately lock into it. But I do, and once I do, it works for me really well. The systemic syncopations does not hide itself, they just go buy so fast that it takes my brain a few seconds (or more) to find them. And I wonder why live players aren't thinking in these terms. Is it because it's not possible, or because there's a resistance, or maybe an animosity, or just what? But this type of thing keeps happening, and it is a totally human thing. The DJs making this are making the machines do their bidding. So I would think that live players who are living in today would be paying attention. I see signs that they are, but it's still a trailing indicator. And ok, maybe it's time to think of DJs/Etc as "live players". If they can do a set of it and keep it both real and fresh, hey, that will work for me. It's got a good beat and you can dance to it. I'll give it a 93, Dick. Oh MY! Planet Mu • Jana Rush Jana Rush By day Jana Rush works as a chemical engineer at an oil refinery and at night she works as a Cat Scan Technologist assisting doctors in pathology detection using CT scans. Jana also has a background as a paramedic/firefighter. Chicago born and raised, Jana started DJing at the tender age of ten and started producing just three years later. She is influenced by Robert Armani, Lester Fitzpatrick, Cajmere, DJ Milton and DJ Deeon, the latter of whom she released with on Dance Mania in 1996 as “DJ Deeon Presents The Youngest Female DJ”. Whilst DJing in the early 90s at WKKC Jana gained friendship with DJ Rashad, Gant-Man and Nehpets and has been a regular at juke and footwork events in Chicago. Planet Mu got more artists than Columbia LOL!!!! Planet Mu • Artists

First heard the album in the early 70s, a buddy picked it out of the cutout bins. Didn't care for it that much at first, but kinda warmed to it over the years. Never really got there for me. But - seeing it in the context of the film...it works very well there. And the movie itself if a delight (if you can use that word for what is not at all a happy movie). So, definitely not one of those soundtracks that stands well on its own, imo.

There's only 12 keys...24 if you count minor. THERE'S a project for a wonky type of person - a 24 CD set of blues, one disc for each key.

A real sleeper was another Atlantic record...from 1994!!! Produced by Lenny White! !

Works for me.

That lady with the umbrella is training for the grassy knoll.

I hope they include the original liner notes, which for a while always prominently gave what key the song was in. That was charming!

I like how Blue Mitchell made it into the blurb.

If walls could talk...

There's one called Going To The Movies which sounds a bit cheesy but is in fact magnificent! Don't pass it over!

35 CDs is a LOT of John Mayall.

Is that lady waiting for Joe Henderson?

Bad Papa Cummers - HOY!!! HOY!!! HOY!!!

You might have heard the Resonance disc of Lloyd live in NYC. That was a rather frisky set. Also, the live date with Cannonball. The faster company kept him honest, so to speak.

Day One!!! TRACK ONE - That harmonic/overblown thing that Pjaroah does...has it been established yet who did it first, him or Trane? Becuase on "Transistion" the cut, Trane sounds like he's already gotten all into it. And that was pre-Pharoah in the band. But no matter - Ritual Trio is my favorite el'Zabar band, bar none. All respect is due to Malachi Favors. Period. TRACK TWO - Is this a Cindy Blackman Muse side? I like those. But I'll tell you what I don't like is the tenor player, too damn derivative of Joe - and enjoying it. You should never enjoy being derivative. I recognize that tune from an old Ron Carter CTI record, but not this version...and it's not on a Cindy Blackman Muse record. so...that's Tony...and now I realize that this is a record I've never heard, at least not that I remember. Just sorta let it slip on by. Gotta remedy that. TRACK THREE - A fully collated set of Eddie Harris' Vee-Jay/Exodus records sure would be nice! A LOT of interesting stuff there! TRACK FOUR - Definitely a contender for earliest entry of a vibra-slap. I want to say Carlos Garnett, but can't with any certainty. Ok, yhat sounds like Sonny Fortune, but otherwise...having a hard time finding any distinctiveness, except, ok, Woody Shaw, but it's just a solo, albeit a good one. Bass clarinet...could be Maupin, but not in that restricted a role. Could be anybody competent. I mean, I like it, but it's not anybody's best work. At least I hope not. TRACK FIVE - No idea, and a part of me likes it very much, while another part finds it at times a little fluffy/pretty. Hmmm...both things can exist in the same space. So there! TRACK SIX - Lock, as mentioned above. I am literally ashamed of this, but I still do not own the Cookbook records. Only God knows why, and I'm afraid to ask god, for fear that God will strike me dead for being so vilely ignorant about it. So instead, let's talk about Jerome Richardson here...I think he was pretty new on the scene when he made this date, and geez, to stand tall with a veteran throat-cutter like Lockjaw Davis and just deal is a real tribute to the courage it takes to be a real player. I also wonder why he never hookd up with Basie, whther he was doing alright doing his thing or if the Basie pipeline never admitted hi. Which would be odd, because Quincy Jones seems to have had come control over that pipeline, and Quincy definitely dug Jerome. Does it really matter? TRACK SEVEN - Cassandra Wilson with New Air. Unmistakable. Some of wondered how Steve McCall could be replaced. Well, he couldn't. But you got Pheeroan Aklaff now, so you keep going with that and it will be good. Very good. TRACK EIGHT - All i know for sure is that there's Harold Land. Works for me! TRACK NINE - Is this one pianist overdubbed? The tune makes a passing reference to "Let's Face The Music And Dance", but passing is all it is. Pretty serious deep bebop mentality on display here. Very curious as to who it is, I like it. TRACK TEN - Anth9ny Davis/Jay Hoggard doing "The Clothed Woman"/ Totally delightful! This record - this cut in particular - made a lot of noise when it was released, all of which seems to have been forgotten 40+ years later. Too bad about that. TRACK ELEVEN - The American Clave label is due t be collated and re-presented, no? TRACK TWELVE - I would need to hear this in the context of a full album. As a one-off here, I like it. It sounds a bit "European" and that soprano is kinda silly. BUT is it supposed to, that's what I want to know. But if it's jsut motherfuckers being clever with nothing else in the mix, that gets old pretty quick. TRACK THIRTEEN - Already let my feelings about this work of genius be known, but...I got this record when it was fairly new, and the MASSIVENESS of it cracked me up and left me awestruck at the same time. It was like Norman Connors/Phyllis Hyman/David Van De Pitte/Donny Hathaway ALL ROLLED INTO ONE AND EXPANDED TO MAXIMUM PLUS SIZE! And all the while keeping that street feel (it's on the same record as "Honk Tonk Bud", right?). I guess maybe having been through all that 70s Techicolor Soul in real time helped me just GET it, because I totally did, and still do. Because our love is holding up the Planet Earth and keeping it from self-destructing, right? Of course! And Light Henry Huff...my god, PLAY THAT!!! He was on thevery first Ethnic Heritage Ensemble record (as was Edward Wilkerson), the first and still my favorite. These are all SERIOUSLY bad motherfuckers at work here. All of them. And to give maybe just a bit of what is being lovingly referenced here, here's something from not but a few years earlier. I love it, but it is TOTALLY to be taken at face value. That's Paul Riser doing the chart, so don't smirk. That shit is RIGHT. As is this BFT. Thank you!

Not that I can find. and i have looked.

and you know, you being an older gentleman and all, I would allow you that, but not feel it to any deep extent. Hell, that's what I cut my teeth on... But then I saw this, and, uh...I get it a LOT more now. But that was a LOOOONG time ago. And except for Jarrett, they have all grown up. And Jack was ALREADY grown up.

Can we eventually have the official board rules readily available for all to reference? That would be sweet!

Spaciness? Not to me. Willful naivete, Love Child Hippiness, yes. Sometimes sickeningly so. But that was a long time ago. I think he shed that somewhere in the 80s. He does not have an unlimited supply of ideas, but with that tone, you don't really have to. He's nurtured that tone and it's only gotten warmer, wispier, and more vehicular. And - he is consistently one of the best-dressed people on the planet