JSngry

Especially when you can't phonetype to begin with.

Those songs were often hard. The lyrics were culturally specific honest. Who can you see covering, much less wanting to cover "God Only Knows" which is aat least as much of a record/composition as it is a pop song (Andy Williams did, and it's a bit of a clueless mess) or "The Warmth Of The Sun"...can you see a "world weary" personality sing a song that begins with "what good is the night..."? The Hollyridge Strings had a clue, though, as they often did. Capitol, baby...

I think it created a mental stumbling block for everybody except Brian. Especially the group itself

I give to the world, freely.

Sly, yeah. My phone typing skills suck, and stealth autocorrect only makes it worse.

I still don't understand how it's inappropriate to have Miles' 80's sound represented by somebody who actually played that way. This is a concept record and that's exactly the concept. Is it inappropriate to execute a concept? The concept itself is spurious, imo. But they didn't ask my opinion, you know? They decided and then they executed. Verve did that a lot in those days and some of them worked better than others No matter, one also has the opportunity to hear John Scofield on a Jay McShann record Check it out

Sky had done the rhythm box thing earlier, but Thomas was just so stark about it. That whole record was stark. Not really a "song", just a non-stop flow of bareness from the soul, one man. Just one man, literally, wondering why can't we live together

How's he doing? Well, I hope!

https://www.soultracks.com/story-timmy-thomas-dies This was one of those records (William DeVaughn had another one) that when it came on the radio, time stood still...or at least the rest of the world vanished, This is an interesting piece of meaningless trivia: The Indiana-born Thomas began his musical career in jazz, working as a sideman for Donald Byrd before taking on steady gigs as a session musician in Memphis

Too f*ing busy to get in early, Everything's ID-ed right? but...anyway... TRACK ONE - yeah, the pigeons. Remember when pigeons and squirrels were cute? What were we thinking? Thad, otoh, perfect significantly more often than not. TRACK TWO - Only on Emarcy! At that time, anyway. I have to wonder what the "critical consensus" was about Dinah Washington in her time. Today, if we get an Afri8can-American Female Singer who sings in a lot of different popular contexts with different levels/types of production, there's a lot of cringing and equivocating and wishful thinking that comes, and...really? Singers can sing any damn thing they can sing. Not that the7 always do, but...Dianne Reeves, for one example (and Ledisi for another...), are always/usually approached from a distance when they venture into more "popular" areas, and, I say fuck that. If they're singing, they're singing. Period. Anyway....I love Dinah Washington. TRACK THREE - Ok, not identified! The opening phrase references "What A Difference A Day Made", so that transitions out of Dinah nicely. Is Sounds like a pop song, in a good way, something that can be sung, with words. A "For Lovers" type vibe, in a meaningful way. Can't say I find it particularly compelling, but oh well. I like it. TRACK FOUR - But of course. Some really stealth Ed Blackwell here, btw. Mal/Reggie, obviously, but listen to Blackwell keeping it full-bodied and forward-moving.Reinforcing that, actually. TRACK FIVE - I like the writing, but the trombone player sounds like better days (years?) have been had? Tenor player plays thoughtfully, I like that. Sounds "local" in a good way, not running the impress-licks. I like it for staying inside itself. TRACK SIX - Yeah, ok. I have that record two, ha. lot of good that does me, right? As stated earlier, the "Windows" feel kinda bugs me, once is enough, ok? I keep waiting to hear Hubert Laws. But she was an excellent player in her own right, and her record is most worthy of being remembered. TRACK SEVEN - Yeah, I do like this. Especially the second part, especially the air raid. Actually, that's my favorite part. We have community sirens here that go off to warn of tornadoes and shit, so that's not a foreign sound to be, but it's great to hear it fleshed out like this. I like it a lot more than the first part, which, hey, Sonny Sharrock been there and done that. But the air raid, that's till fresh waters imo. Again, I like it. TRACK EIGHT - Ok, I thought this was familiar, but not until it was ID'ed did it click. Somebody, here or elsewhere, put up a YouTube clip, or a circulating file, I don't remember what it was. No matter. That's a bit of an "all-star" band (Charles Owens played with both Buddy Rich and John Mayall!!!!), and also one with a shared history. It's the shared history that really delivers the power here, power aplenty. Kamasi Washington came of of this same environment, remember, so....community. Not gigs, not hustling to get on top of the other guy, community, no bullshit corporate endowments to shut out everything else, a solid, ongoing community of spirits and souls.. TRACK NINE - Nice to know the name, and to have it confirmed that it's AACM, that's where I was leaning, but not into the AEC. Another community. I love communities. Ari Brown, eh? Sweet! Avreeayl Ra & Harrison Bankhead are names I know (and trust!), the other names, I do not know, but sounds like I should. Leon Q. Allen? Great anme, and fine playing. I like the poem, too. "Mama Rose" from another family, and you know there are many more such people, they are not isolated in the word (although they are from the general consciousness...). Strong statements being made here. And strong is the word I'd use for this collection. Happy to have been able to hear it, thanks for sharing this music, this way.

Cutting your finger with a sharpass chef's knife kinfe is painful. Lester's later playing is a communication of a mixture of many things including, but by no means limited, to pain.

Have you tried Macroblank? https://macroblank.bandcamp.com/

Macroblank. Apparently a leading exponent of Vaporwave, about which I knew absolutely nothing, but it's one of those things that appears to have very little substance, but actually has some very deliberate choice being made quite well. https://macroblank.bandcamp.com/ I like a music that creates meaningful spaces that don't get filled...or do with minimal content. Macroblank indeed!!!!!

It's the space-age bachelor pad music of today. Today's bachelor leads a balanced life and leaves the pad before returning to it, always dressed properly, and stylishly. and since weather today it so overwhelmingly satellite-driven, it is by definition space age.

Do you ever play them all at once, just to see what strange mysterious results would happen?

It's far from being a favorite of mine, but not because of John Scofield. It jsut never gets a pocket, that's all. I blame the overall environment, not any one player. btw - if you like Weather Channel music, here: https://twcclassics.com/ There are quite extensive playlists w/samples. Both John Scofiled and Jackie Gleason are included.

People need to be reminded/made aware. Thanks!

No, it's not a "straight-ahead jazz album". It's a staged production, a tribute/concept record, not a document of "straight-ahead jazz" playing.

Dexter's later playing parallels Lester, very much.

The trio with Steve Swallow/Adam Nussbaum was particularly fresh. No Omnibook licks there!

Bill Easley can play.

Shows have been circulating for a while now. Don't buy this crap. Do get it though.

I like him earlier, more than later. His first trio records (on Enja?) were fresh. As for the Joe album...it's neither plus nor minus for me, any of it (and Scofield was better actually playing with Miles than playing tribute to him...). I like his (Joe's) Jobim record MUCH better.

Shavers here!