JSngry

Paul Mariat Franck Pourcel Raymond Lefèvre

Dave's Pal Ronny - Atta Boy!!! b/w Buffet Time!!!

Check you mid-60s Prestige and Pacific Jazz releases. Hell, Les MCann & the Jazz rusaders amdea almost entire records of that type of thing.

Mingus Big Band is a Mingus family business specifically created to keep that music alive because it wasn't being played. Call a bunch of players together and ask the who knows, day, "Remember Rockefeller At Attica". Have fun with that. Or " Pithecanthropus Erectus". Or " Meditations On Integration". Or " Fables of Faubus". Or... Mingus has benefitted from writing a relatively few easily-enough played tunes to give the impression that his output is widely played, outside of "projects", which don't really count. That stuff takes work. Work, time, rehearsal, understanding, just an overall willingness and opportunity to did into it. So much of the great jazz compositions do, and I mean real compositions, not simple song structures. That why these composers had their own bands, do they didn't have to depend on other people to play their music. Look at Cal Massey if you want to see what happens with that.

Johnny Temple Frank Church Sal Mosca

They create a very specific 'zone", and they're difficult to play outside of that zone. Most players see no career opportunity in engaging with either one of those elements, never mind both of them. Another example is Mingus. Outside of a handful of things that can be easily covered, who plays Mingus? Herbie Nichols, great composer, but it who plays him? For such a sophisticated music, it's general practitioners today are a rather doltish lot.

Smooch Spundenthal - In All This World

Eddie Albert Eddie Bert Duane Eddy

Funny thing is, it wasn't just Blue Note that was doing it. Far from it.

The Don Wilkerson album that must be in everyone's collection is The Texas Twister. and for George Braith, it's Musart. Laughing Soul as well if there's room for two.

Still getting good service here.

Mitchell/Buckner/Oshita ( or whoever else it will be,)0Yhe Sound Trio. Heard them love and it was a challenge, the good kind. SO much silence!

Dave Leverton - Hard Lovin' Man

Dennis Chambers usually comes to play.

Having a hard time finding the exact Robert Farnon records I want to check out. there's a lot of "light classical" or whatever you call it that is good musically, but not at all what I'm looking for right now. So, you know, just throw "Robert Farnon" into Spotify search and all kinds of stuff comes up. Hit or miss, but when you find a gem, hey. worth the effort. NP, something completely different. Olly Wilson (Creel Pone)

Ok, this is a trip. Originally recorded in quad, but obviously now presented in stereo. Still, there's a real sense of directionality to the output. I'm listening on a Discman with really low-line Phillps plug-in speakers, and the sounds are just coming from all directions (except from behind, but it gets pretty close sometimes).. I can only imagine what this would be like on a real system. Maybe over the weekend... Not just audio hijinks either. Some really interesting music too. Not just a bunch of bloopybloop, actual lines and counterlines to lock onto/into.

Wonderful!

1970 offbeat gem. This is what Spotify is good for - finding something totally unfamiliar by searching for a name I was curious about, and then finding, ok, Tony Coe, and then listening...this is a weird record. Weird and fascinating. Farnon only sometimes sticks to MOR practices, and Coe doesn't even try to. He snarls and bites and whispers, not at all unlike Paul Gonsalves playing on a stoned Percy Faith record or something. MOR, but only barely. The album is apparently also known as: Anybody else know this one?

Fedra Speets and The Pilton Valley Rilers - Hands Off, Stompers On!!!

I don't know that Wayne was all in on the touring/band thing yet. But they did tour some. There are some YouTube videos, but the full story of that period is likely to be told by whatever private recordings there are to be brought forward. It was a hot band, though.

That too!

By template, I just mean that the paradigm was drive the band, play the dynamics, and never miss a hit by even a microbeat. No more riding in the pocket and kicking some of the time. Nope. all of the time. As you rightly note, there's a lot of different ways to do that. Only recently paying attention to Greg Field. Shocked to read his CV, a real Hollywood studio figure. Coulda fooled me, so very tasty. Dennis Mackrel, I get a chuckle out of that, just because when I saw him on Carla Bley Big Band records, I was like, wait, isn't this the guy who played with Basie back in the day? And he is! So maybe Carla wasn't totally joking when she said that her goal at the time was to be Ernie Wilkins!

Yes, at least as I've understood it.

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Gary Willis was in Wayne's band, the electric one. He was one of the most organic fusion players I've ever come across (we were from the same area, knew each other through NT, and jammed back home ove summer vacations). This guy literally did not, could not, WOULD not be bothered with any bebop derived music. This made the jams....uneven, but - when it came to things coming out of that other bag, hey, hey was all into it. Tribal tech...it seemed to be a whole band of hims. (Scott Henderson was in Zawinul's first post-WR bands, iirc?), and for me....no thanks. But they're honest musicians.