JSngry

hmmmm...not if you're never without one.

"Flaws": The Bridge - not THAT good a record, really, other than "John S"., it never gets going, not like we all know was there to be had. What's New -Side One, yes. Side Two...ehh... Our Man In Jazz - "Dearly Beloved" focuses too much on the "arrangement" and now that we know what else was in the can...what a waste to have included it. 3 In Jazz - a winner, especially in that context. Sonny Meets Hawk - "McKie's" - again, not necessary, nothing there but a track. But otherwise, mission accomplished per Paul Bley's sense that Sonny was in "kill your father" mode. Now's The Time - ok, you got me on that one. The Standard Sonny Rollins - and on this one too. short cuts but by design, it turns out. The aim was to get radio play and then sell records. apparently Sonny felt guilty about RCA paying him all that money and then never giving them a hit! The Alternative Rollins - hey, flaws? What flaws? It's the record that shouldn't have happened, so take it and be happy. Now, that's an objective look at it, because love requires an insertion of objectivity in order to be more than just infatuation. and I do love this stuff. I pray that the full RCA session tapes still exist somewhere, in some form. Coda published a discography ofwhat "should" be there that, even if most of it was "ill-fated"...love accepts that.

Emilo Bowtirelli - Forever Fashionable

The 1960s live recordings of this era (mostly boots in not-great sound) are generally at least as dazzling as these RCA records.

Rule of thumb - beware of alto players with constant hats.

Those are two different considerations. But yes, those records individually have "flaws" but they are certainly products of "one of the absolute giants"...objectively, the sense of time and immediate place in those improvisations (which always begin right at the first note, probably even before the first note is actually sounded) stands out as perhaps the most refined/defined of any documented player, ever. The only others who are equal in this regard and to this degree (of this era) would be an unfettered Bird and an unimpeded Warne Marsh.

Riding the Mel Torme resurgence that Harry Anderson spearheaded on Night Court. Cultural synergy in action!

Fran Mutes' Greatest Hits All but forgotten today, Fran Mutes's willowy body and hickory-voice singing once commanded the respect of housewifes and police detective alike, And then - the scandal. Few stood by her, because in those days, you just didn't do that in public. However, the records remain. At least this one does.

you get Tom Waits and Manhattan Transfer to boot!

1988, correct?

and then there's...

https://jazztimes.com/archives/john-clayton-succeeds-bud-shank-at-centrum/ John Clayton was hardly a kid then...or unqualified... https://www.peninsuladailynews.com/news/ex-centrum-jazz-port-townsend-artistic-director-shank-dies-at-82/ Shank said he wasn’t upset that Centrum decided to make a change, but he’s angered by the way the change was handled. “It’s not what they did, but how,” Shank said during a telephone interview with the Peninsula Daily News from Tucson. “They sent me a letter saying my services were terminated. It’s not the best way to do things like that.” Now that's fair. Shank was 78 at the time. Replacement, sure, but with dignity, please. Like he said, not the best way to do something like that

Well, that's a rant.

Panky Pinky Punky

Buck Belt and The Belatons - It's Time For BUCK BELT!!!!!!

Isn't that a Shelley Fabares record?

But Ed Blackwell is one more reason to LISTEN to it!

Oh, I didn't use the other Discogs image because THAT version only shows the front cover, no title or date, PLUS they get the song names wrong. One more reason not to pay for this type of shit.

No, I didn't pay for it and neither should you. But it is excellent music with Ed Blackwell on full display. Should it find a legit release, hell yes I will pay for it, and gladly. Until then:

Play it loud. Play it VERY loud.

A testament to the wisdom of hiring up.

Cameo used to be MONSTER big. I liked them a lot, no idea what their current show is, probably all the hits, but who knows. Back in the day, Cameo was at the top of whatever they were on top of. It's just a VERY strange follow-up to Dianne Reeves. Even if Miles made a record with them.

https://www.tbaalriverfrontjazzfestival.org/jazz-stage Particularly intriguing is the Saturday lineup, where penultimate artist Dianne Reeves is to be followed by Cameo. Word up! Particularly terrifying is the Sunday night jam: TRIBUTE TO JAZZ MEMBERS OF THE DALLAS SYMPHONY ORCHESTRA Featuring B.SLADE JOHN MCLAUGHLIN Guest Conductor The notion of a jazz festival presenting a tribute to jazz...there ya' go.

Nope. Not even a little.