JSngry

https://classicthemes.com/50sTVThemes/themePages/toTellTheTruth.html Group? Who knows.

Wokeboy here wonders why they have to be anybody? Like, do black people only exist in the frame of literality?

Oh, I saw the band with both Scofield AND Stern. Transitional, to put it mildly. Let's hear one of THOSE!!! I kinda regret that that was the only chance I had to hear Miles, but kinda not really, because nothing that night conflicted with anything I already heard. Different yet the same, as they say. If there's any doubt remaining that this was the most difficult music Miles ever made...so far, "they" have been able to pimp all of his music except this. No easy hooks for the hipsters to latch on to. And yet...there it was, and there it still is.

Very heartfelt, moving, and human. Thanks for posting.

No way, post-comeback Miles is damn near infinite in bootlegs. Electric Jungle/Pete Cosey band (in terms of sound quality, mostly), not so much, but there's enough there to put together a REALLY meaty steakmeal.

Let's put it this way - in a Devil-Ruled World - how many of those 80s albums would it take to get you to allow The Real McCoy to be erased from time, like, it never happened? And/or - how many of those 80s records would you sacrifice to ensure that it would NEVER disappear, not for all time? An absurd precept to be sure, but you know, just because it's all good doesn't mean that all good is equal. Because, really, if it's all good then it's all the same and if it's all the same, why should anybody give a shit?

Probably? I knew Steve Duke in college. He was the typical "NT guy", so I bought this as a laugh. Well, Imagine the TOTAL shock that I got to discover that this was some serious shit and that Steve Duke is a totally badass classical saxophonist who is a leading exponent of modern classical saxophone - and not at all averse to including jazz under that umbrella. "Jazz purists" HATE this record, they think it's defacing or otherwise misunderstanding/misrepresenting Monk. I think it's them who are misunderstanding, because it's simply showing that Monk is not a music to be ghetto-ized, it's contents and implications are FAR more profound than just "jazz". It's like, who owns truth? Only evil tries to do that and only suckers go along with it. Truth is there if you like it, and it's there if you don't like it. You don't bring truth to you, you go to it. so whatever the first-gen Third Streamers though about it, their instinct that truth will not be denied (even if that's not exactly what they thought they were saying)….they were right about that.

81-85 can be good, but...we still need to cover the Pete Cosey bands!

Odean Pope Trio Inspired by Cis (CIMP 416)

Extra kudos for The Turning Point here as well. "Passion Dance" is a most worthy companion to the original. It's always nice when somebody stops making...ok, "great" records and then gets back in the groove. "Reurgance" or whatever you want to call it. For me, it renews my faith. I've told the story before, but...Sonny Stitt was playing a south Dallas cocktail lounge as a single, and he had a pretty adept local rhtym section. Stitt was in "cruising" mode, not a bad thing, really. so midway through the night, the bass player says, "hey Sonny, want to play something up?" Oh my, that was the wrong thing to do, because Still felt that he was being challenged, so he shot a look, and said, ok, Cherokee in E, gave four bets at some absurd temp, and that was that. Those were different people and different times, all the way and on all sides.

It's an artist's rendering, both of them, I think.

Try this one:

Bennet Cerf was surprisingly "entitled" way more than I expected. Fred Allen was consistently brilliant, though. The whole show seems wonderfully provincial these days. It's a keeper. To Tell the Truth is my jam, though. With or without Bud Collyer. Spotting a liar makes for good entertainment, to say nothing of sharpening one's life skills.

There's enough bootlegs of "professional" playing that is essentially players "going through the motions" (albeit very masterful motions) that have left me disbelieving pretty much entirely the assumption that "live is always better". Sometimes yes, sometimes no, and the sole determining factor being live vs studio just does not hold up to an objective analysis, imo, especially post 1970-ish. Things changed, a lot of things changed. More likely to be a determining factor is who the music is being made for and to whom it is being played. Hell, you can have a more intelligent and appreciative audience in a studio that you can in a club, and definitely in a concert. You can have. Not always, but you can. A good reason to get high is to block off all the idiocy that comes with playing live in the wrong places for the wrong peoples. That's a damn good reason, actually.

Yeah, but "the magic" is as much a matter of spirit as of place. and often playing a dance gig is something you can relax and get lazy on, whereas if there's amike, you get that focus on and jusices rlling. Sometimes, yeah. and sometimes not. But as it pertains to McCoy specifically - what would you expect a live gig of The Real McCoy band to sound like? What if Joe and Elvin were, uh, distracted? That was not a working band, so, no guarantees. For that matter, Togetherness - that's a bunch of season players who knew how to make a good-great record sitting behind baffles with headphones on and maybe or maybe not making eye contact. That same badn goes on stage at a festival or some such...good luck. Maybe yes, maybe know. It's just not that simple, especially since what constitutes a live gig has been essentially transformed over the last half-century. And a LOT of players today are more comfortable "making a statement" in the privacy of a studio than they are in the too-often vile conditions of a live date.

Mostly, yes, and definitely when heard with today's knowledges. There was also, though, the political things that came with working with Ra for any time. so Spaulding's disinterest in making a jukebox song might have some roots there. Or not. But of all the Chicago-era Ra players who moved to NY, him and Pat Patrick are the two who had the highest outside profile, and Spaulding was really the only one who engaged in the commerce of music to any meaningful/clearly visible degree. So it's like, yes, he would work a gig, but no, he would not work ANY gig, and if it was HIS gig, he obviously was not interested in (as he probably saw it) distorting his identity to suit somebody else's needs/wants.

As music gradually puts itself to sleep, I gradually turn to game shows. This is one of them, but hardly the only one.

Do tell, please.

I saw the Dimensions band live and they were SO much better than the record!

I would not use the term "rather poor", but I will use the phrase "not impactful". He did a few later records on Blue Note that were quite impactful, imo. And the big band record(s?), same there. I saw him live with an all-star group with Freddie Hubbard ca 1982 and he played quite well, but the highlight was his solo piece, might nve been "In A Sentimental Mood". He seemed...unleased or something by being able to play just by himself. Ups and downs, right?

I have a hard time imagining four people at a table, even with just drinks, unless they were all on the slight side of stature. Anybody tall and/or wide, they take up two spots automatically. Then again, I've been in crowded joints like that, But I was slimmer then.

Did Duke Payne play flute and/or did he take a bit of a left turn later on, just a little? And who would a likely electric bassist be, very agile and a bit aggressive but still in the pocket? Past of me wants to entertain the notion of some kind of Funky Skull type stealthiness, but that seems like overthinking it, maybe

Sioux!!!!

Seawind was one of those bands that you were "supposed" to like, never a good predictor of actually liking it for me...