JSngry

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.

word

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.

No fault found here! (and yes, that is Sal Nistico on 2nd tenor)

Yeah, the one RCA compilation I got opened my ears to that. I was like, WTF, this is NOT OT, this is NT!!!! Only it wasn't. Again, narrative becoming convention wisdom, or vice-versa. And to what end? To steer the consumer's spending? To accrue power over same? Ego-trippin' out? Or jsut general myopia? I just don't know. But no wonder we accept the concept of evolution better than we know it as we see it.

Lanolin!!!!

I put laziness and ignorance in the same taxonomy. And somewhere in there is fear. I mean, it's one thing to not like something. It's another to not like it AND not own your dislike AND the (bonus points!!!) recognize that hey, what's behind all of this. Adjective are too often projectiles of projections!

Maybe it's Stockholm Syndrome, Shepherd Variety? He's identifying with the sheep?

An insidious record, full of the worst kind of earworms!!!!!!!!!!!!

There's a deep and recurring undercurrent of class/race/etc conflicts/unfamilarities/insecurities/etc. in the "neurotic" comments such as that one, and it is still very much alive and well, not just in jazz, but everywhere we go here in the 21st Century. Sometimes there's even hostility attached to it, unwittingly or otherwise. And it goes the other way too. Humans are their own worst enemies.

Not wrong at all, only that there was apparently a very real-time feeling to it that carried over well into the 80s, maybe even longer than that. And there were grumblings about hey, you got rid of Gus Johnson for THIS????? I think a lot of it has to do with the puritanical patriarchal impulses of so many jazz writers and fans of the time (not that it's all that much better now...), you know, this is OUR Basie, WE know what's Best and True about this music, how dare it be defiled! The Old Testament band...hard for me to say how much of the ongoing adulation/idolotry of it was genuine admiration and awe, and how much of it was/is just fetishism. There's an air of militantism to some of it that raises some suspicion on my part, but otoh, yeah, those guys were the shit and kept going at it until the very end. But oth...my first live jazz was Basie in 1970, with Lockjaw in the band (oh, to have a time machine to go back to be able to hear that again with what I know now....), and to say they made an indelible impression is putting it mildly. They're both great entities, imo. And if we could get a full accounting of the Columbia and RCA OT bands, we'd likely here that the change was both inevitable and necessary. And now that there's enough room to separate fact from emotion (or should be...), hey, this has that Basie thing that I love form ANY era: