JSngry

Roomy!

Fred Flintstone The Rock Sly Stone

Apologies for missing this one, hectic month, as this one is looking to be. Some pretty interesting selections, I going to have to go back and stream just for pleasure. Thank you!

Drelle Craviton - Show Some Appreciation!!!

To be honest, I hear no meaningful difference, if any at all. The heads are a little fuzzy, but big deal, so many were. Besides, KD wasn't always married to 440 himself, if you know what I mean.

Is there a dental plan?

All kinds of interesting, perhaps the most interesting of which is hearing fairly recently composed music being performed before it had in any way gotten old and/or standardized. As above, there is an element of "struggle" in these records that is quite compelling, not totally unlike watching kinescopes of early live TV.

Certainly snapped up one of those Melle sets, thanks, Joe! Also on that site (on sale!) are single discs by both Olly Wilson (most of which I have just on LP) and William S. Fischer (Circles, + one called Omen of which I have never heard). No-brainer picks for me! Also this https://alphastate.nyc/products/ilhan-mimaroglu-complete-finnadar-atlantic Five CDs (CD-Rs?)for $40. which if not for what I had just bought from them(!) would be a no-brainer, but...discip[line is needed, except when it's not. But right now, it is. https://www.discogs.com/label/44976-Creel-Pone Bootleg record label that "re-issues" early electroacoustic & experimental recordings in CDR fromat. Currently operating out of Melbourne, Australia, via KFW's Broken-Music distribution outlet (previoulsy Mimaroglu Music Sales). Each release is a limited facsimile edition (50 or 100 units) with a silver foil-stamp on the crystal-clear resealable polypropylene compact-disc sleeve. Originally the label was run by Fullerton Whitman using the pseudonym Pieter Christophssen aka Mr. P.C./C.P (also associated with DJ Hekla through an email address) with a claim that it was based in Iceland. He now openly admits his involvement in the bootlegging venture. So I need to buy the next Olly Wilson CDs, it looks like. And the reissues of Omen. Or anything similar. And the surely just-around-the-corner official issue of Andromeda Strain/etc.on CD. Hey, if they build it, I will come.

Kin-Kan Kowty - ARUBA!!!!!!!!!!!

Jackie was never too high to play, which at times must have been a facade. EVERYBODY is too high to play sometimes, if they get high, that is. In Jackie's case, I don't mean facade in at all a negative way. I mean it as a tribute to his strength of character to be able to play on all of those record dates. I can't think of any where he's not all there.

This music seems to demand a real-time visual accompaniment...oh to trip again... And shame aplenty one for not being knowingly aware of sopran Phyllis Bryn-Johnson until now. Such command and agility!

Henry had addiction issues, as did McLean. But I swear, when it comes to sheer rhythmic nuances (including tone), he swung harder than Jackie. Even when he faltered, it swung. SO like Bird in that regard Jackie never really let down his facade, no matter how high he was (or if he did, it's not on record). Henry did. But if you want to cut to the chase of the bobbing and weaving (and for me, that IS bebop), Ernie Henry is my man, almost every time. God knows I love Jackie too, but Henry just had more bob, more weave.

I still have a catalog from some mail-order outfit the was all about Savoy/Muse. It was a good time to buy as much of it as I could afford. This was around the early 1980s? I should go dig it out. But wasn't it Savoy Jazz that really got busy doing all those great R&B reissues? Arista Savoy kinda played at it, But Savoy Jazz seemed to have gotten serious about it!

Oh MY!!!

Mid-Century Modern Indie Classical, very unfinished in the good way ..does anybody still play this stuff? Or even care about it?

Nancetta Lexicanne - Awash In Tomorrow's Tears

watch all the way through...including the illuminati wink at the end

+ Satisfying.

I know it watches over me. Am I the only one?

Welcome back. Glad you're here!

Carter Budgeton - This & Now

Too often, intonation policing is the last refuge of a martinet. Pitch is a tool, not an absolute Even A440 itself wasn't always a universal constant. You can look it up.