JSngry

Processing! Yay, Fred, who answers emails!

No, it's usually alto, occasionally soprano. But there was a lot of doubling going on apart from that. Such as I've heard it, that is, which is not a big whole lot. But I did inherit this record from my folks, which is, I think, a repackaging of 78s. Talk about a magic bus!!!!!!! They played good songs, let it be noted as well. More than anything excpet the cover, that's why I keep the record. I guess this one is a guilty pleasure, although I don't at all feel guilty about it.

Lombardo used to play the Savoy, believe it or not. And apparently were popular there. They were a dance band, first and foremost. Even as they became a "society" band, they played for dancers.

Skeeter Davie Nat Cole Midge Ure

Some shit gotta get lost, otherwise we'll run out of room.

Blend, vibrato, instruments/mouthpieces (that, especially, the gear changed to meet the demands of new venues, including studios), everything. Section work, know how that gig needs to go and then playing it. Check this out, the ghost band. Everything has widened up and loosened up and it does not sound the same. It's just not as distinct. When I matriculated, they taught us how to play in a section. A section, the premise being that all sections would sound the same. It was a self-fulfilling prophecy in a way, because at some point, they pretty much did. Not a fan of that myself.Gimme the OG and let me figure out what that story was, right?

All music is or will be dead people music eventually. So no points for noting that. Louis Armstrong loved the band. I used to scoff until it finally clicked/ I still don't like it, but I get it now. I used to know a few guys who would work the ghost gig (dead people!), and they said it was one of the hardest books they ever played, the doubling, they key changes, and above all, the phrasing. As corny as it is/might be, it's a pocket all its own. I think that's what he (Armstrong) dug, that they laid it in their own pocket and kept it there. Maybe you had to be there, but he was, so, hey. I can only make it so far through this, but not without acknowledging/realizing that I could not - ever - play this gig, not because of a lack of stomach, but a lack of the specific skill. Not a lot of love but fullest props.

Here's my chance to dance my way out of my constrictions.

Sister Rose Sister Rosetta Tharpe Rose Stone

My wish is indeed for happy new years, many of them, each one happier and newer than the one before.

Flip Keel's Swingin' Boat Ride You can almost smell the bait!

Done.

NO!!!! God, Betty White was the boss of everything...somebody else should die, not her.

Hey Rooster - give that Sun Ra Omniverse a listem sometimes. To me, it's very "Andrew Hill" sounding in most places, and got me to thinking about what kind of interactions the two would have had in Chicago (three, if you add in Gilmore).

Leftist critics were appalled by Disco because it erased social protest, supposedly. And I guess most of it did. The "Starta-East" type of people, yeah, they felt the sting of that BIG time. But hey - Yuppies, hippies turned stooges, don't blame Disco for them. Blame their own lack of a spine and/or a core. They didn't evolve, they just gave up.

Gonna try and do this while I work...wish me luck! TRACK ONE - WHOA! The Grinch talks to the Buzzard. Tenor should be immediately identifiable. Should be...The voice ALMOST sounds like Jon Hendricks. But it's the tenor's show, full bodied, robust, like good coffee in Bb. TRACK TWO - Sure-handed. TRACK THREE - Might this be Percy? Great playing. TRACK FOUR - "Blue Moon", very Hawk-ish. VERY. Maybe a bit too much, depends on how old the player is. But it's not Hawk. TRACK FIVE - Not really feeling this one, sorry. A short WTF?!?!?! tenor solo is the redemption card on this one for me. Maybe Urbie Green? Bill Watrous? TRACK SIX - Not sure...sounds real enough, maybe a bit tired? TRACK SEVEN - Sounds like Ernie Watts, only less. Surely this is L.A.? I mean, nothing wrong with it, it's just not...it's doesn't make it's case, imo. TRACK EIGHT - Ok, I like that tenor tone right off the bat, it's got some fluid in it. Getting close to Red Holloway, might well be. If it's not, it oughta be. TRACK NINE - Hal Singer? I like it. TRACK TEN - A bit of the frisky factor, of which I am a fan! James Spaulding, maybe? Yeah, we like it here in our town. TRACK ELEVEN - Mordembluz. But ok, here comes the tenor, ears perk up, Big Nick? Or Arnette? Itforeel. Our town came out on the lawn for this one. TRACK TWELVE - We don't enter unto the house of the lord very much these days. Not the lord's fault, nor ours. But they could use some new songs, no matter. But them that still do, this is as good as it needs to be, like a Les McCann good? TRACK THIRTEEN - Percy again? that man could PLAY! Not a good idea to do this whoile working, couldn't pay attention like I'd want to. But still heard a lot of good stuff.

The Basie gig was part of a month-long "Christmas with the DSO" thing, under, I think the DSO Pops banner. They always have one "jazz" thing during Decemeber, usually nothing I want to get to. Basie, I was curious about, but the Omicron thing....some other time, perhaps.

I heard BB King & Bobby Blue Bland at the Myerson. Felt weird, sounded great! That hall is an acoustic treasure, for real.

House evolved out of Disco, a then evolved further into all kinds of sub-geres. Club dancing, dance clubs, whatever you call it, it's alive and well, and probably more underground than necessary. And thre will be a sizeable contingent of gay and people of color in the mix as both creators and consumers of this music. But it's always been that way, and always will be. The best house music swings, swings hard. The best dance music does. Personally, I think it should be part of any worthwhile jazz curriculum to study and play dance musics, past and present. Learn how to swing in a physical sense. It ain't gonna hurt your jazz playing, I promise. I don't mean playing bullshit wedding band crap, I mean going where real dancers dance, and how that all works.

Your explanation of why the album tanked is surely spot on. Having not heard it, I couldn't tell you if it was a real disc record or not. They're two different questions really, the first one being did Mary Wilson make a disco record or not. If so, the "disco backlash" only tangentially relevant. And if she didn't make a disco record, totally irrelevant. But the sociology of the disco backlash is a real thing. Needing to include it in this story, though, seems a bit tacked-on.

There were definitely racist and homophobic elements to the disco backlash. It wasn't the whole of it, just saying that it was part of the mix. I was born in 1955, so trust me on this. "Red Blooded American Males" could only wear platform shoes and obviously gay-inspired fashion wear for so long. And you know, dancing, REALLY dancing...real men don't do that unless forced to by their wife or such. And then as today, Black Male Sexuality (of any orientation) still flips some switches in certain quarters. So take Sylvester, and... Urban Cowboy shifted the culture just as much as did Saturday Night Fever. There was a reason for that, it was a type of "calling the culture back home:. As for Disco....the bad probably outweighs the good, but the good is VERY good, imo.

Me and a group of like-minded frieds were equally inspired by both Punk and Dancing In Your Head. We formed a band call The Dirty Sphincter Band, played a party, got the cops called on us, and that was that. We did a few original that were definitely punk-based (like, written and rehearsed all in an hour. I sang them!) The two that please the people were "Only Love" and I Need Some Drugs. Other than those few things of that type, the rest was an endless jam on "Theme From A Symphony", like if Blood Ulner had been in the house. It lasted a couple of hours, and that's what got the cops called. We kept playing while the cops told us it was too loud, so we just played sofer, asked the cop was that ok, he said yeah, and that was that. There were a LOT of drugs at that party, so we got lucky. But I've heard through the grapevine that some people who were there still remember it. Quite apart from my personal story, the real story here is that "Dancing In Your Head" got ears from a totally new set of players, players who were already embracing a "punk" approach. And then you got the whole "No Wave" thing...James Black/White, god bless him for trying. Stuff like that.

Miss Randi Flipjack- Head Full Of Hopper

That was Donald Byrd.