JSngry

The image of Stravinsky lustily and gleefully slamming his drink down on his table with such force as to send its contents ejaculating all over the surrounding tables seem just a little "based on a true story", if you know what I mean...

Ok... that's not at all what was going on in that music, but as you describe it, yes, that's really easy to do

"those kind of sounds"....what does that mean exactly? Those later Miles bands were expertly constructed, actually. Arcs, textural developments, rhythmic finesse and colors, you name it, they knew exactly what they were doing and although Miles probably didn't give them the specifics, you can bet - and the players will speak to it to this day - he was guiding the whole thing.

Shaggy Scooby Velma

Oh, but he wasn't being funny, he's telling the truth. Are these neighborhood-specific driven, or musical niche driven?

I started shopping the Dallas-area stores in 1974 or so, when there were a LOT of local mom & pop type stores still open, with a lot of gloriously untouched stock from the past. The only place I found OG Blue Notes with any quantity was in African-American neighborhoods. Riverside, never, not even Cannonball or Bill Evans. Prestige, not a lot, really. Argo, more than Lewis & Jamal, but no real pattern to it. Pacific Jazz....maybe. That on was weird. I did find both Booker Ervin PJ records, though, albeit in different stores in different neighborhoods. Looking at the histories of these labels...at some point, Prestige began getting bigtime distribution around here. All the Sound Warehouses had plenty Prestige stock, and given the nature of distribution stock, most were green label, but not always. It was like buying baseball cards, every so often, you'd open up the pack and be delighted. Riverside, remember, had folded up in the early-ish 60s, and other than a brief reissue stint by ABC(!), nothing until the Milestone 2-fers, and then the Japanese facsimile stuff. Blue Note, once the massive catalog deletions of the late 60s (and this is true of Pacific Jazz as well, even more so, it was all Liberty by then), the catalogue got culled and then stabilized and you could get those blue-label pressings of standard catalog items fairly easily. Pacific Jazz, though, that stff just got dropped. Cutout bins were your friend then, for both labels. What was different then is that there really weren't a lot of chains then, but there were, like I said, a lot of neighborhood shops, and they staocked what their neighborhood customers were likely to buy. There was one memorable south Dallas store that some of us "discovered" that had, like, beaucoup BNs and NO Beatles, not one. Nor Elvis, nor anything related to White music in general. That kind of targeting a neighborhood doesn't really exist anymore, just like neighborhood stores in general don't really exist any more. And for as ;long as they were around, you would find significantly different inventory at a South Dallas Sound Warehouse than you would a North Dallas one. I think buyers had the liberty to stock according to the expected tastes of the area. I learned early on to go everywhere when shopping, not just for the small shops, but for the chains as well. In this area anyway, what I get a sense of in the used stores are mostly people dumping their (or their "inherited:) records at HPB, and then the stock gets distributed around stores a little bit (or more). And let's face it - most people have the taste of "the masses", because they ARE "the masses". But every so often, you'll find something with something on it that tells you about who the original owner was, and that's always interesting. The other big used store around here that I've had a few trips to is Josey Records, and I do not know where their seed stock came from (maybe some of it frm Bill's?). Their first year, I was able to buy more small label 20th Century Classical that any place since, maybe, the old Melody Shop in North Park in the 1970s. The last few times I've been in there, though, it's not been particularly interesting, and for damn sure not revelatory. Oh, Verve...wtf? Those Granz-era things were sold here, I know this. But it's like when MGM took over, most of them vanished. And the MGM stuff must have gotten culled a lot as well, because other than Bill Evans, Stan Getz, and Wes Montogomery...not too much.

Today's Tastes, Tomorrows Flavors - A Musical Interpretation of The Muskelle Family of Foods

Revisiting for the first time, if you know what I mean Splendid

Jack Loovis - My Friends All Say You Love Me

Levi Strauss "Blue" Gene Tyranny Gregor Mendel

One of "those labels" has done what "they" do best and done real bootleg material, in this case, the 1963 Stuttgart concert (plus a few extras) in the best sound I've yet heard it (which is not to say REALLY good sound, that probably never existed) If you've never heard it, you probably should. And if you've picked up one or more of the rough sounding issues of this material over the last 40 or so years, hey, here is your reward. Carpe diem. Of course, there are pitch correction issues on the "extra" material. Of course. Bootleg gonna bootleg. But the main menu is just fine. And even needing pitch correction, hearing '65 Sonny with Milt Jackson and Art Blakey is a hoot!

Davoris Splatt - Answering Questions

Is "singing" really the point of any Leonard Cohen "song"? I mean, a little goes a long way, but still, they don't really seem to exist to be sung as much as...conveyed. Does this work with anybody else? Then again, maybe Leonard Cohen should have used different players on his records?

"Lonely Woman" also got lyrics added, by Margo Guryan. That was/is still published by MJQ Music. MJQ Music: https://www.mjqmusic.com/index.php?page=home

The contrast between Art Farmer & Cedar Walton here is at times almost comical, although not in a lessening way.

So, Peggy Lee in reverse, perhaps?

This. Don't bother looking for something that's not meant to be there. Face value is full value

So was he mostly Decca or Capitol? My inner sleeves are inconclusive on this count.

Tish Mustelle - Tomorrow's Just Behind The Sofa Boy, could that girl sing! Too bad about the eyebrows

The Herman Select is the only one of the bunch I'd consider "essential". That band was on fire 24/7. The First Herd set...that's a truly "essential" band, but its essentiality can and has been distilled in any number of quality compilations. As for the others...no thanks on the Capitol (even though it means missing some prime Bill Perkins), and a considered no thanks of the Mars, as much in objection to an apparent shift of the label's focus as much as anything else.

whoa, yeah!

Third Stream was a big deal for Atlantic. Now why and how, I don't know. Probably Lewis through Neshui. But by 1959, yeah, the Lewis/Schuller tandem had a very real niche carved out. Don't forget, Schuller produced the Buster Smith record, and his liner notes are unintentionally hilarious anthropology. Ellis was NY-based by then, he was on the Maynard gig, also working alongside Eric Dolphy with George Russell. Why just a one-off? Because not everybody likes everybody's new concepts, I suppose. Record companies all have their quirks, Oh, business - MJQ Publishing getting the rights to Ornette's early recorded compositions, that's hardcore business move. Lewis and Percy Heath (remember him), saw investment potential there, and "Lonely Woman" alone probably proved them right. But all(?) of those tunes on Atlantic were published by MJQ Music.

By the time of Lennox, Ornette already had his sponsors - Lewis and Schuller orchestrated his appearance there. They were convinced that Ornette was the next major move forward for jazz. They were already doing the Third Stream thing, which in their minds was very much a "way forward". Well, Ornette was definitely that, and he had the whole package - a band 9sort of), a book of compositions, a genuinely new way of playing (one where the improvisations were not about chord changes and song forms), so hey - let's get him wrapped up because this is gonna be BIG. I think it was Lewis who said that Ornette was the next logical progression after Bird, which rapidly got distorted into Ornette being the NEXT Bird. so if you're Atlantic and you've got two of your power players telling you this, hell yeah, you get him signed ASAP. Ornette would certainly not have been on Prestige, though. He was a California guy and he was neither a bebopper or a "systems" player like, say, Don Ellis. Prestige had neither geographical proximity to nor musical interest in him. Those first two Contemporary albums didn't make a whole lot of noise, remember. It was only after the Lewis/Schuller sponsored media blitz that people paid attention. Before that, nothing. Afte that, Lennox, the Five spot, and EVERYBODY was coming out to check out The Next Big Thing.