JSngry

Howdy!

It's one night on a club date. Somebody was late or something, who knows?

It's Kenny Hing who still is a bit nebulous to me. Am I wrong?

Different records. This one has Gary Barone, John Gross, Pete Robinson, and Juni Booth.

Feetle McCord - Momma Dint Take No Baths

I thought it was an interesting premise, not totally unfounded on the realities of today, do to read more, I clicked on the link. Bait and switch.

Oh.

Who is doing the notes on this Hubbard set?

The problem here was less the overall site, but the article itself that was linked to. Calling it a screed is putting it mildly. Like I said, I had to stop reading before getting to the point made in the OP. I thought that that was going to be the focus of the article. It was at best a footnote.

And that dynamic would exist any time that Lockjaw was in the band. Eric Dixon made a wonderful foil. And then, later on Dixon and Jimmy Forrest. For that matter, Foster and Wesson, pretty distinctive. It's having Billy Mitchell in the mix that's a wild card. I know him as a small group player. It's possible for a personality to become diffused playing in a big band, odd as that might sound.

Ralph Burns

Dude. The article you posted to was a link about some country singer. His wife, his PR form. Some comments that somebody had made, and then a long multi-page rant about cancel culture, censorship, new fascism, the whole grievance litany. I gave up reading before I could find anything about what you said was the point in question. So maybe yeah, stop posting links, just give us the facts, name the names of you like. Just stop posting these links that go to well inside the political rabbit hole These aren't my rules, these are board rules

Well, it is true that you can make a record like that and then distribute it via SoundCloud and such. It's going on damn near daily. But think about it - what kind of music is being made like that? Pretty specific, and some would say, limited. Very limited But if that's your bag, then this is your Golden Age. Carpe Diem. Oh fuck man, you did it again, posted a link to some hardcore political site under the guise of making an innocuous musical inquiry. We do not do that here. You know better. And don't cry censorship when such links get removed from your post, like I am going to do in this one. This keeps happening. Too much to be unintentional.

The Dovells Johnny Bristol Ralph Peer

And then the firing squad finishes up. Never waste a good blindfold!

Not a hint! Just an observation. No clue here!

Got some down time this week, time to carpe diem! TRACK ONE - "Barbados" I recognize. Sounds like a JJ Columbia record. That studio sound is pretty recognizable. As is Elvin! Guessing that's Bobby Jaspar? NOT guessing that it's Elvin LOL. Excellent cut from a fine group. TRACK TWO - "Moonlight In Vermont", Konitz/Giuffre. That's a wonderfully subversive and seditious arrangement, making the case for a quiet and still dissonance (when you're not looking...). I bought that record for Warne, but soon enough fell for the whole thing. I'm not going to say "no collection complete without it", but I will definitely say that any collection is the better for having it. TRACK THREE - "Moondance"? JUST KIDDING. No idea who id it, but it sounds older, vedry inside, a bebop way of playing a "modal" tune....which is quite often better, imo. Sometimes the math gets in the way of the music with the scalar cats. More tahn sometimes, to be honest. TRACK FOUR - "Where Or When", a standard that I still like, it's surived the culling. Too many standards, a lot of them have outlived any real usefulness. Not this one. Lucky Thompson? That's a very "vertical"/Hawk approach both harmonically and rhythmically. But the tone is all his own, and that's the cap without which no uniform is complete. Total mastery. . TRACK FIVE - OH yeah. Andrew from the One For One two-fer. "Poinsettia". Did we ever learn who did the string quartet charts? Was it Andrew himself? SO fresh, even today. I got this record right around the time it came out...couldn't play it enough...especially this side, I guess they only got those three pieces out of the date, but what three they were! TRACK SIX - Walt Dickerson, has to be. Sounds familiar, but I'm drawing a bl;ank as to the record. Recognize the face, just can't remember the name...Really good.When I find out what it is, I need to go pull it out, that's how sure I am that I have it...but couldn't find it becuase I can't remember what it is. Hate it when that happens. Kudos to the bassist for holding that down SO steadily. Wait a sec...is that Ra? Ah....okay, yeah. Memory refreshed. That's a darn good record. TRACK SEVEN - Sounds like a soul ballad, it's got a hook or two. I like that. And I think that's Clifford Jordan? Yeah, that's Clifford Jordan. Unmistakeable. So that would be Dick Griffin, who is a beautiful player, but whose intonation might give some people pause. But not me. TRACK EIGHT - There's a lot of poems about Trane, and this is one of them. The delivery adds value, a lot of value. I set a much higher bar for the song-titles-strug-together type of poetry, and the delivery adds value in that there's a rythm to it, inflections and such. So, ok. Seems like there's other things to do now, but there's certainly worse things to do as well. TRACK NINE - Sorry, but no thanks. TRACK TEN - There's an Abdullah Ibrahim vibe here. Another one where I recognize the face but can't call the name. Is this what the future looks like? No matter, a lovely piece interpreted with grace. TRACK ELEVEN - Chicago tenor evident from note one. Took a second or to for me to zoom in on Johnny Griffin. You can't hide love, right? But you can forget names...if not faces...again. Brilliant cut, though. TRACK TWELVE - hmmm....Michael Ray on trumpet? No, this person has more chops, intervallic chops are STONG. Tenor player bugs me. Nobody else does, though. TRACK THIRTEEN - It's (hopefully) a chamber piece, and as such is very nice. Not a lot to do with it jazz-wise, but they don't try to, so kudos for staying on point. Maybe some Made-For-TV movie could have used it? TRACK FOURTEEN - Oh my GOODNESS!!! They all sound alike, but they're all totally different. And the tempos were always RIGHT. Johnny Hodges was a superior musical human being. End of story. This was a groovy set, man. Very much appreciate it!

Depends on what kind of music you want to make a record of.

Good question...listening now and hearing bits of all three!

Wess is immediately identifiable to my ears on both alto and tenor. So if it's not Wess or Mitchell, it's gotta be Foster.

Children of "Milestone", all.

Seems to be, yes.

It's not all from the Crescendo, though.But most of it is.