JSngry

Stitt was his own AI. I listened to the Bach Sonata linked to in the article and didn't like the pianist at all. She played like a computer. Seriously. So, what's gained? Just because a dog can lick his balls doesn't mean that I aspire to lick a dog's balls. Or even my own.

The Lungers - This Wheel Is Mine!!!

This is a damn good record.

He's alive and well, living here in Dallas. Busy guy.

I've long wondered if silver played material from his 70s "Silver 'N...." albums live, and it looks like he did. It's a lot of good material on those albums, sometimes in spite of the production choices, and this is not at all a bad band to play them. Any retro band looking for still untapped material to cover can find a buttload of it in those records.

Who was managing them? Anybody?

This is nice and good and all that, but I'm in the middle of deep-ish dive into later Carla Bley (specifically the Big Band, the Lost Chords, and the trio with Swallow/Shepherd), and it's pretty funny to hear this tribute to her earlier compositions played in a style that would have been totally appropriate in, say, 1965, maybe even 1975. In the meantime, Carla Bley herself has been through a lot of evolutions and has created a whole other set of compositions that have a distinctly different "vibe" than this. There's a whole other set of "tributes" to be made using her later work, and it probably won't be played like this. Still, this is a good record, and Barry Altschul is always a treat.

Genius if for nothing more than Richie Powell's intro.

Teeny Tiny Tina - Hold My Chair, Please Millions did just that.

The Darkest Impulse of Humanity - Feelin' Good, Feelin' Fine

Orchestra Huffy Puffy - Doin' The Mucilage Mambo (fully illustrated instruction chart included )

I'm impressed that Graettinger had a say with the Capital art department!

of who?

I've heard those KOB alternates. "Variations" is certainly accurate. "No improvisation" certainly is not.

"jazz indication"....that's an interesting phrase....

I would think so, but, you know, the express written consent and all that.

except when they make records...and believe it or not, there's been a discussion about "should jazz REALLY be recorded?" in some form or fashion from, probably, before any of us here were born. Seriously. That got countered in the middle 50s or so, the idea was floated the the best way to make a jazz recpord would be to just roll tabe, let people loose, and then edit together the best choruses, licks, whatever. Too much math for R&B, imo, but it should be noted that that's pretty much what Teo Macero did (quite artistically, imo) on Miles' 70s records, but the conversation wasn't about that type of music, lol. It wsa about shit like Al & Zoot and all that. Sonny Rollins, even. So, just....you know, know what you're getting and let it be that. If it's not right, do something else, BE something else.

i ordered through the baseball site, but it looks like it was fulfilled by Cryptogramaphone. That's what the return address was on the package.No idea about bandcamp, but it seems like it should be in there somewhere, unless this is a really limited edition for baseball people.

originally on Ictus

What was he wearing on the cover? As for the Hickory House circa 1954, I'm perfectly OK with Marian McPartland of that vintage, but the Marian of recent times wouldn't self-restrictively play that way. So if I'm right about what Charlap has found himself doing on "Stardust" and similar outings, what the heck is his motivation for doing so? It's not like it's an approach that can have intense musical appeal to him in this day and age I would think, nor is it an approach, though I may be wrong here, that would have a potent enough nostalgiac vibe that it would draw in listeners on those grounds.

I very much do NOT like the Nyman piece, but the rest is a quite nice listen,

Steve Gadd's all tatted up?

If it was perfect, there would be no sense in doing it again. I do think there can be a "perfect solo" but big deal. you won't get paid for being perfect, you'll get paid to keep playing. If that. Besides, there's always better, eventually, or at leat different. And with different comes the new goals and practices. Perfect isn't built to survive in the real world, perfect is built to just stand there and be admired or scorned, to be a motivation for new creation or new destruction. Perfect is not about "becoming" perfact has become. There's no existential motion in "perfect" But then tere's Bach. And Bird. And so forth. So really, this is a bunch of yingyangyakadoofdle talk.

Maybe, I'm not sure. But those mostly aren't student bands. they're organized big bands that play god knows where. The biggest change in the idiom is that it's no longer primarily and ongoing occupation. It's something that people do because they did in high school and maybe college, and now they want to keep playing in a big band. It's almost like a softball league.