JSngry

Yes - Eno was paying attention to Miles during this period.

You might want to learn about The J's with Jamie. Or not. But...they are an important vocal group that worked mostly in jingles. But hugely important anyway, becuase they were the best at it.

Teo continues to grow in stature, imo. Doesn't tke anything away from Miles to say that either. But hey - sleigh bells!!!!!!!

Not every record of every music is meant for every audience. There are some things that if you don't get them, maybe they are not meant for you. That should be ok.

and this carries on all the way to the end, even - especially - when the band became superficially more "pop" oriented.

Jacko Conlan Augie Donatelli Al Barlick

It's an essential item, imo.

Greg Tate was the one who started the revelation on any meaningful scale, imo. In Down Beat, of all places. Seems like it took a period of no Miles for all the dust to settle and finally pay attention to what it was instead of what it wasn't.

Hale Boggs Wade Boggs Colonel Sanders

An afternoon spent checking out George Braith's Spotify catalog - all of it - is not a bad way to spend an afternoon. Even if they don't have all of the Excellence releases and neither of the Prestige. George Braith is an American Original!

What is different is that Teo's mojo reached full flower here. I don't know that anything other than "Rated X" was so fully a Teo joint. The original record was a gloriously muddymuddled mess. But as time goes by and they clean it up...good lord, ALL the loops and splices, there's a reason why a younger set of ears reveres it. Those types of things were supposed to stay hidden. Here, they are the whole point. As for the critics, in real time, none of them got it. Even the ones who had "nice' things to say about it. To be honest. I don't think that anybody got it except Miles and Teo and maybe some of the same folks who were buying Funkadelic records when Funkadelic was a rock band. People who already had different ears to begin with. And then only dome of them. But hey, these things take time.

And figure it out you did! The title is singular, though. And the OG LP cover brings bonus points to whoever posts it, for spreading joy to all the little boys and girls all over this whole world!!!!!

I mean the music. It just seems earthbound and static. Mileages vary, of course.

My issue isn't with what they were trying to do, it's with how they ended up doing it.

You never listened to Jackson 5 records as a kid? Perhaps YOU, then, are the Venutian!

Do that!

And if you're so inclined and/or have the spare time (I know...), there's a bit of a narrative built in between those bookends. Almopst certainly, it's likely to be one that only I can hear, but I'm willing to be surprised!

I thought it might be that Horsecollar guy at Mintons that Dizzy talked about who couldn't really play but went all in when he did. Not sure if that guy was Horsecollar Williams, who certainly could play.

Whatever happened to the Mike Trout guy? Is he still the next great player for the ages?

That's been said about virtually every Lee Morgan vault session ever.

Have there been any educated guesses as to further updates to the personnel on this? The cuts with Monk are not yet listed on that online discography, but more than that, the altoist on "Let's Go" is an oddly incompetent yet compelling amalgam of Pete Brown and Bird. In 1944! And the early 1945 unknown group on the Frank Froeba/Stuff Smith group "I Got Rhythm" starts playing "Dizzy Atmosphere", including the bridge, on their way out. This might have been before it was even recorded, so who are these people already knowing it? How possible is that?

Thanks!

Joseph Welch Robert Welch The Flintstones