JSngry

DynaFlex was its own punishment.

I would like to know if Carla abandoned roller skating for good when she left home or if she kept it up for a while, or longer, or maybe took it back up again. Seriously.

Yep

Shouldn't it be "Brecker brothers" instead of " Brecker Brothers"? The latter was an actual band, with, like, repertoire, Will Lee, and tour jackets, shit like that. This doesn't seem like that? Or are they trying to be sneaking up behind you?

Did Hugo surrender Jackie willingly?

Mine isn't, no. White top, black bottom. My original is an OG mono picked out of a random cutout bin, can. 1973. Then for some reason I got a stereo reissue a few years ago, probably because the original was kind of a crap pressing. But the spine on it was the same way

He also did JJ Johnson's Tangence, which is another one that gives you the fuzzy opium.

Not a commercial release then, correct?

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Puerling's a given. But Farnon sees his depth-bet and raises it yet another notch. An amazing gambit. Would that all the instrumental arrangers for the SU came to the table ready to play the hand like that. The conversation around them would be a lot less equivocal for a lot more people had it been so, imo.

and who were or weren't the horn players...I tend to prefer trio with Cedar once his peer horn players dropped out of the equation.

There should be more records like this in this wonderfully modern world of ours.

Listening today, this is a totally delightful program. HIGHLY recommended!

Character! The Bertha Hope story is waiting to be told?

Wow, I have that record, but never paid attention to the name. Great record indeed! Mr. spots has quite the story: https://www.discogs.com/artist/643932-Roger-Hamilton-Spotts

Can't fake the funk.

Chemistry, pocket, is really a matter of physics and timing, micro-measurements of sound and time. Your being is (or can be) quite subconsciously sensitive to these factors. The difference between a groove and an almost-groove is literally micro-seconds.

Squatty Roo is not necessarily a "quality" operation...bootleg and pretty proud of it. What those are likely to be is audience recordings, which can be anywhere from quite nicely done to horrendous beyond redemption money, you talks your chances. So far, all I've gotten from them is some really interesting Ellington stuff. Bootleg like a mo, always rough-ish sound, but sme deep music. Here's a bit of background on the album and a listing of the players: https://www.allaboutjazz.com/swingin-live-with-illinois-jacquet-illinois-jacquet-jacquet-records-review-by-jim-santella Recorded 7/16/24. Jaquet died six days later. What nobody has reference of is the arrangers, and this is where it gets really interesting: Eddie Barefield, Sy Oliver, Wild Bill Davis, Jimmy Mundy, Aubrey Tucker (who's that?), A.K. Salim, Rick Henderson(!!!), Roger Hamilton Spotts (again, who's that?), Buck Clayton, Phil Wilson, and Jacquet himself. Obviously/mostly "vintage" charts, and those type things need to be played a certain way or else they just don't pop. Pretty obvious to me that Jacquet molded that band to get it right. This isn't some clueless Lincoln Center abomination, nor is it a pickup band that plays everything the same flat way. Sorry to go on, but I still have a soft spot for big bands, all kinds, and it pisses me off when they don't got no kind of flayva. There's really no excuse for that except willful ignorance. But when I hear sections playing as sections, shading, not playing louder than the pocket can hold (and the rhythm section holding that pocket open when it does get loud, that's a good listen for me. And this is that. I can't dance for shit, but I can sure as hell feel when it's dance time. And this is dance time! Oh, there's a documentary about Jacquet, "Texas Tenor", I think it's called? Whateverit is, check it out because it's got footages of Jacquet leading and playing with his band. Great stuff.

It got flayva.

Illinois Jacquet 's big bands of the lsat how many years of his life appear to be seriously under-documented. That's too bad, because they always swung right, felt right, blended right, did everything right. Illinois Jacquet should have been the highest "jazz education" clinician/artist-in-residence in the history of the world, because he knew how this type of big time needed to sound to do its job, which is to create an undeniable swing that lifts people up, both physically and spiritually. On this last performance, yeah, he's old, he sings a lot, he rambles a lot, he plays well, and that band of his, unlike SO many other pretenders, lays it down, all the way down, into the pocket and keeps it there, they just do it right.

and that's one of their secrets right there - they made a lot of records that, superficially, "all sounded the same", but - every record had different songs on it. So if you wanted to groove on the Sounds playing one song, that's on one record. If you wanted to hear them play another song, that would be on that record. And so on. You can quite innoncently end up with a bunch of records just for that reason. I don't even know that you need to listen to both sides of the record to get the flayva. Each LP side was a nifty little 15-20 minute drop-in radio show, almost, a mid-whatever refresher brought to you by the ebullient swing company, the one that that is always true, so join us now for the always sparking musical infusions of Gene Harris and The Three Sounds.

Robert Farnon!

.Singers Unlimited. From the highest heavens to the deepest bowels of hell in a single artist's catalogue. But as I understand it, the group was label-incentivized from the beginning. But, if only for the a capella sides, they did right by the offer. https://youtu.be/0F3OjZRtmw8 But this, THIS is drug music. Magic Purple Sunshine indeed!

Walter Benton actually had a leader date on Jazzland. Hardly a "name" but he's on several other records, more than you might expect. Joe Maini will forever be remembered, not only for his fine lead alto work, but for providing one of the most memorable prank photographs ever. For more about him: https://www.jazzwax.com/2010/06/the-truth-about-joe-mainis-death.html

No love for either of the Red Garland records? Even the one with Jimmy Heath? Nobody's best work, but they are "important" gap fillers (not sealers) in the chronology, and also document the reciprocal arrangement that Don Schlitten/Prestige had with the label.