JSngry

yep

First read him in National Lampoon ca1972, where he was definitely funny. RIP.

Betty Walker Walker Railey Laci Peterson

Fritz Kauler - Body Of Bones More trombones than are acceptable in most civilized societies.

See?

Oblique stayed in the can for a while, for whatever reason(s).

Nick de la Canal Eddie Locke Nelson Eddy

They DID make a record together, but that ain't it... THIS is it:

There ya' go. In 1958 or whenever, there was a lot of "experimentation" (like, let's but a fish head on a dog's ass and SEE WHAT HAPPENS!!!!) and forced "fusion" (and a little bit that was indeed organic, if closeted, like, GOTTA PROVE MY JAZZ)). Nowadays, it seems more forced to be "pure" in one limited vocabulary that it does to be touched by all streams, not stopping at just the "third".

I think that as a music, a lot of it was premature and forced. as a concept, though, it's instincts were true and continue to be relevant. It's impossible to be in the world as it flows and not get, at the very least, splashed by all the waters. Ran Blake is/was the chairman of the Third Stream Department at the New England Conservatory of Music: https://www.ranblake.com/ran The Newest Sound Around was encouraged and informally supervised by the man who would become Ran’s most significant mentor and champion, Gunther Schuller. The two began their forty-year friendship at a chance meeting at Atlantic Records’ New York studio in January 1959. Less than two years earlier, Schuller had coined the term “Third Stream” at a lecture at Brandeis University. Schuller was recording on Atlantic Records with future jazz legends John Lewis, Bill Evans, Eric Dolphy, and Ornette Coleman. Ran accepted what he calls “a low-level position” at Atlantic that allowed him to be close to inspirations like Chris Connor, Ray Charles, and Harlem’s famous Apollo Theater. Schuller immediately saw the potential of Ran Blake’s unorthodox but unique musical style, and invited him to study at the Lenox School of Jazz in the summers of 1959 and 1960. While in Lenox, home also to Tanglewood, the classical music mecca in western Massachusetts, Ran studied with the jazz giants who formed the faculty of this one-of-a-kind institution—Lewis, Oscar Peterson, Bill Russo, and many others—and began formulating his style in earnest. He also studied in New York with piano legends Mary Lou Williams and Mal Waldron; other teachers included Bill Russo, Bill Evans, John Lewis, Max Roach, Oscar Peterson, and Stan Kenton. During those years he became close to Thelonious Monk and his family, and according to Nellie Monk, was the most trusted babysitter for their children. Monk remains Ran’s favorite pianist. A year after Schuller became President of Boston’s New England Conservatory in 1967, he created the first department in the U.S. to offer a degree in jazz studies. Ran was invited to join other remarkable artists on the faculty Schuller was assembling, including George Russell, Carl Atkins, Jaki Byard, Jimmy Giuffre, and others. In 1973, Ran became the first chair of the Third Stream Department, which he co-founded with Schuller at the school. The department was recently renamed the Contemporary Improvisation Department, to acknowledge its evolution beyond Jazz and Classical to embrace the incredibly rich and varied World Music traditions. Ran Blake’s teaching emphasizes what he calls “the primacy of the ear,” described at length in his 2010 book of the same title. His innovative approach elevates the listening process to the same status as the written score. This approach complements the stylistic synthesis of the original Third Stream concept, while also providing an open, broad based learning environment that promotes the development of innovation and individuality. Musicians of note who have studied with him at NEC include Dominique Eade, Don Byron, Matthew Shipp, Sara Serpa, and John Medeski.

Applause was a sign of the end times, but and yet, they provided the first US issue of Lou Donaldson's excellent Lush Life, another one of Duke Pearson's medium-sized horn band triumphs, which had previously only seen like in Japan as Sweet Slumber. Go figure that one.

Dolly Madison Louis Armstrong Pops Poopadeaux

Millard Fillmore Bill Graham George Beverly Shea

HEY!

Brimfield and Fred Anderson worked really well together, imo. There's not a big lot of it on record, but all that there is is wonderful.

I would have to say go for the Vee-Jay date with Gene Ammons (a.o.) first. That's just a magnificent record. After that, they're all the same, which is to say all good. He's also got a nice cameo on George Benson's Cookbook record. He had his style and he stuck to it, if you know what I mean, but he was never without flayva.

All Platinum was Sylvia (and Joe) Robinson, the same Sylvia of Mickey & Sylvia, "Pillow Talk", and oh btw, Sugar Hill Records. https://en.wikipedia.org/wiki/All_Platinum_Records The B&W covers were indeed "unfortunate", but it helped keep the records in the stores for a little while. At the time, they weren't there otherwise.

Seems that Bennie Green had no problem getting one-off record dates when he was "on the scene"...but very few (if any?) sideman dates from the same time? I always enjoy his records.

Not enough Bill(y) Brimfield out there.

Rhonda Sue Silt - Leaving On A One-Way Street

Clay Stutts - Steel Toe Boots

West Coast Needle Daddies - White Don't Make You Black (It Just Make You Blue)

Exceptional performances, imo. Go for the CD, which has two extra cuts than did the LP.