JSngry

Earlier today; One cut with a nice spot by Gene Ammons(!) plus the entire "Little Pony" big band session. Definitely a good set to have!

The live music of this time as a whole occupies a weird space in Miles' recorded chronology. He had spent the first part of the 1960s releasing one live album after another. The repertoire had been set. So ..Miles gets not just a new band, but a new band that writes new material. That understandably took precedence. Who wanted to hear yet another live album with yet another version of "All Blues"? Besides, Miles was not in top form, his chops were down And once Butches Brew happened, Definitely who wanted to hear that old shit, regardless of how atomized it actually was? And then Mike's "retired". America was busy doing fusion and such, as was a lot of the world. But Japan,hey, Japan saw the value in this music and put it out, And from there it became a sort of cult classic. So what finally broke it into America to begin The Second Great Quintet? Perversely enough, Wynton, whose earliest records were ALL about a formalized study of this ban, this music, and quite a bit of the Plugged Nickel records. So in a way, this music was old and new at the same time. It's still standards though But it is also a more thorough delineation of the rhythm section than the studio albums. And Wayne is just NUTS!!1 And a weird thing happened during this vacuum -there began this fossilization of what "real jazz" should sound like, and for standards this was not that. And then there's the Lost Quintet, who picked up where the Plugged Nickel band left of and carried it over to the other side. But that's another story... All these Columbia records are helpful, but to hear the natural evolutions of the music, the bootlegs do that. The Bootleg series is helpful up to a point. That's funny, but...a major local newspapers "pop music critic" did a column about "the most overrated musicians of all time". The two I still remember two are Otis Redding and Charlie Parker, of whom it was said that if he sounds like he's just making it up as he goes along, that's because he is. So ..yeah

Sounds really good!

Somebody define "noodling* in an objective, quantifiable way. Please.

You can't bury Tony.

Best Monk cover ever?

To be honest, the OG two LPs are the highlights, enough for all but the hardcore ((for whatever reason) listener. But those two albums are not to be denied! And notice I said "denied", not loved or understood or any of that other emo crap.

Oh wow. THAT'S dumb! What it boils down to is that everybody is entitled to their opinion, but not all opinions are equal. And if somebody has an opinion rooted in ignorance and not at least a little bit of awareness, then I feel no obligation to respect it or (depending on how hungry I am) quietly tolerate it. Silence = death, eventually.

Of course not. I understand the basics, but that's it But I would never call it "noodling" or some such. Never. Because that's just ignuntass bullshit reflective of an ignuntass worldview. Period. A little bit of that goes a long way, and there's been more than a little bit of that for way too long. You can't expect anybody to like something, but the other side of that coin is that ignorance should not expect to go unchecked.

Now why would I do that? I decided decades ago tonir be that type of listener. I don't know if this is just an "American" problem, but music education requires critical thinking, and critical thinking has been disappearing across the board for decades now, and "pop music" has led the way. You know, you can enable programmed ignorance for so long before...never mind And btw - this has nothing to with individual taste Quite the opposite. It's about the refusal to develop any. Pop is not the enemy, the pop audience too often is. And btw, by your definition the perception of "noodling" is based on user ignorance. Q E.D. Speaking deconstructing Stella, that was underway before Plugged Nickel:

I know very well what they are doing. It's not the band's fault if pop audiences can't hear past the nose on their face. That's the result of decades of audience narcissism and industry cynicism playing into it. Besides, even if you don't know "the tradition", if all one hears is "noodling" and not something...different, then one is not entitled to have their opinion taken seriously. This i do believe.

It also took forever to come out. I placed a preorder as soon as it was announced, and, IIRC it took about a year (or more?) to actually be released. For such great, seminal (albeit in slow motion) music, Columbia has been stingy with it.

I'm going to hold off for a little bit in case some new people want in.

It is.

Yeah! That's what I would have liked to have seen used as a basis for the new covers!

Pro sports.

Those two records are the beginning of the concept of The Second Great Quintet as a thing. Nobody was thinking about that group as a live band, not yet. It was those two records that got the ball rolling. In 1976, after Miles was retired and after how many evolutions, and who was thinking about a 10 year old club date shaking up the world? But the they were. You could get them if you had a contact for Japanese records. I got mine in 1981 (after after hearing them fou a few years) at Jazz Record Mart, but I had to order a week in advance, such was the ongoing demand. That's been the consensus as I have heard it.

1976 and American Columbia wasn't interested for a while. There was no Second Great Quintet yet.

1976. Think about that.

That voice transcends any and all material.

It would have been cool if they referenced the OG Japanese LP covers for a concept. What they're using now is a bit "generic".

My suggested order is Bille(Clarke), Hawk, and Bechet. And then some cartoons to reset for the next round.