JSngry

mid-late 70s. find your local Tenor Geek Of A Certain Age, they should have old cassettes of it, that's how they circulated.

What Liebman told about Grossman was that Grossman had mastered Bird by the time he was, like 15 or 16, and then got busy doing the same thing with Trane and had that down by the time he was 18. Grossman got the Miles gig first, remember, so he must have had some kind of buzz about his very early on. Somewhere Grossman was asked about his influence on all the young tenor players (or a certain ilk) and he replied that all he was doing was playing Trane slowed down into 8th notes instead of 16th notes. I took him at his word and respect his honesty. A really complicated person with demons of the All Time type, if even half the stories are true. That kind of a tortured soul background adds a bit of poignancy that many of the other CloneTranes don't have for me. Have you heard the Live at Brown's private tapes? He's in a zone there, and a zone is a zone, even if it's a little "derivative". You can't fake a zone, and he was in one there, and almost here as well.

Is that Lyle Lovett & Captain Beefheart? When did THAT happen?

I also heard a version where Taylor was opposed to the meeting b/c of Williams' attitudes but went ahead with it anyway hoping to magically heal her spirit. In the end, neither one needed the other in the least, but there they were anyway. I can tell you this, though - Cecil's playing contains more than a little love for Williams' type of playing, if not for her person. Williams, in the meantime...check out "A Fungus Amungus" and her composer notes about it. Can't say she was a dewy-eyed innocent here...but you know, warriors gonna warrior, all of them.

Mixed emotions about these for me (as with Grossman in general, not just these records, he was apparently a "complicated guy") but of two things I am certain - It's hard not to like this record if you don't think about it past the immediate moment; and - for all those whiners who would love nothing more than to have Sonny Rollins playing in 1984 like he did in 1957, here's your records, thank you, now stop bitching about it.

It really does. That was one guy who was always "Konitz", but what that meant seemed to steadily but gradually change as the years went by. And listening in real time...it was almost like you didn't notice it at all until you played an early Konitz side back to back with a recent one, wherever you but those "early" and "recent" markers, and then only maybe will the changes jump out at you. Very crafty guy that Lee Konitz was, not just in how he managed to always evolve, but to do it in such a way that he kept an audience that didn't revile him or be disappointed about for always doing so.

I have come to appreciate that record after finding out that Williams was a bit, uh, homophobic or something about Taylor in general. It seems that she might have been "playing the game under protest" and then proceeded to indeed protest. And thus a narrative was created. Love them both, but it looks like it was not necessarily an act of good faith, that gig. I dunno...

We can say that now, with the benefit of, what, 60-ish more years of records after these. But pre-Motion-and-beyond, they were VERY "Konitz"! Well, there's that as well...

It's classic early Konitz, imo. Especially the live side. ZONE!!! Also, it's hardly ever been OOP, except for that weird transitional period when the Pacific Jazz catalog was in some sort of limbo. But PJ themselves kept it in print (with many different covers along the way) ovdr the years, and now "Blue Note". It's one of those records that people seem to always want to have/hear.

Is there such a thing? There does seem to be a need, especially at the, shall we say, lower-budget companies.

You will need this one. Really! This one is funny in small doses: Rumored to be a Don Elliot project.

but you stayed awake, correct?

Start one!!!!!

The Kings In Exile cuts (both here and otherwise) were mostly made on the fly, long group improvisations that got edited into "compositions". I will note that "Biggest Liar In Asia" was my composition and went uncredited anywhere except on the label. I was also told that it became a "big hit" in Yugoslavia, whatever that means. This was verbally communicated, not financially...

Given to me for Christmas, the Plano library had an all-you-can-eat-for-$10.00 sale and my sone's family went all-in and got me a buttload of classical stuff, this one included. I was not expecting the energy and vibrancy in these performances. A VERY enjoyable surprise!

Totally awesome, excellent!!!!!

It's in Bb, so there's now "sawing Cs instead of Zs" joke to be had here. Oh well... I guess you could work with "he knocks me b-flat out", but that's faux-hip, and faux-hip sucks.

What key did they do that one in?

Please advise, I want to know the REAL story!

It's a man's world, eh?

I can't say with any certain confidence what this music wants of me...

Boy, dude, you sure can carry a grudge!

Danton Skellar - My Pet Boat

Go deep into the vaults and find "New Girl" from the first Duke Pearson Big Band album. Tabackin is in charge there when he is.

Were you around for 70s TV?