JSngry

oh, THAT Ricky!

I guess I'm not going to worry about still not ever getting a confirmation email if the site has my order and an order # and my correct email address?

I wish I could get some Tristano hold music!

Which one is Ricky?

I keep waiting for the urge to come to move on to something else, and that has not yet happened. Stealth like a mo, bro!

I think they're one of those labels that gets legit rights to radio broadcasts for which the artists signed releases as a condition to broadcast. The broadcaster maintined/maintains the rights to do with as they please. At least that's been their sort-of story in the past. Aside from that, they do good work. Previous releases have been in better quality than the bootlegs of the same materials.

Same here, mine is still "on hold".

Maybe "happy" is not as simple as just being "happy". What "we" used to talk about this being is "street", if somebody's bringing street to their playing, it's immediately apparent. Ike Quebec, memorably described by a buddy of mine as "pool hall music". That experience. Street is different now than it was then, street was never "safe" (but you could still hang if you paid attention). That quality of being out there in the community, hanging out on the street, soaking that all in and having that as one of the core parts of your life experience (and therefore, your music)...you can't fake that. Or recreate it. Times have changed. The street has changed.

Who's playing all this moody music? Where are they from, what is their story? Hell, Red Garland used to be a boxer. Bobby Timmons used to boost TVs (with Lee Morgan, no less!). Bud was just....Bud, a genius, so don't count him in all this. Bud was not a part of this world, not like that. Who are these people today? Maybe their moody IS their happy? I don't know, but I don't have unlimited patience with all that, if you know what I mean. At some point, fight back, throw a punch, jack a TV. Show some joy about THAT.

That was a social music born of a particular time, place, and people. That hasn't exactly dried up completely, but this is definitely a different time, place, and peoples than was that.

After all these years, I've decided on Paul Bley. Not an exist ramp, more like a loop. Road trip, anybody?

Hawk. It was a Leonard Feather stunt.

Evans was a safe exit ramp to a defendable suburb Shit was getting hot and not everybody wanted to be there for that McCoy became one as well, but it took a helluva lot longer and was far less his own doing. McCoy fanned the flames and took the heat.

Not if it's being paid for! Unless you're in there just to play the jukebox...

Kurt Vale is the skier, with?

I've done that, and it is often true (enough) as it comes to note choices. not even close in phraseology, though. But - it only holds true (to the extent as it does) after Hawk engged in bop. Yes, he was a quite advanced player harmonically, but there is more than what came to be known as "bop" than just harmony...the same holds true for Tatum, geez, that guy..certainly an influence and any thinking musician, but did he in anyway "birth" bop? No, right? In many ways, it doesn't matter, it's all evolution of a social and musical culture. But calling a book "The Birth Of Bop" does not imply an evolutionary process, it implies something else, and as much as god knows I love Coleman Hawkins, and recognize him as one of the truest badasses ever, I would not in any way claim him to be responsible for the "birth" of "bop". More like a midwife, or perhaps even a dispenser of Pitosin. Definitely an ancestor, but a parent? Nah. Besides...Don Byas. Oh, it's not a book, but the liner notes on the old Onyx/Xanadu issues of period material are often every bit as entertaining and perhaps even more illuminating than books. Give a good writer the back of an LP and a small enough font, you can get some true gems.

Yeah, that was my feeling as well. Still, DeVaux shined light on how the presentation of the new music came about, which I found illuminating (somewhat), because those early bop records often had actual arrangements to go with them, and it was a good read to see "why and how" about that. YES!

DeVeaux is a good read, but it's only part of the picture, as it focuses more on the mechanics of the music and how that played out businesswise (to the almost exclusion of the personalities & sociologies involved, which was a huge part of first gen bebop). But what it looks at, it looks at very thoroughly. Both of the Gitler books give you a better picture of the actual people and places involved, imo. You need all three of the above, imo. Honkers & Shouters is a really, REALLY good book, "getting under the hood" (if you will) of the whole jump band - to R&B thing, both the players and the business. Otherwise, Dizzy's autobiography holds up really well as both literature and history. For Bird, Bird: The Legend Of Charlie Parker has a soft spot in my heart. Gitler's Jazz Masters of the Forties will get you there.

Humans are sometimes quite unnatural. But not always.

At some point...a consideration should be made of Chicagoans Andrew Hill and Sun Ra having meaningful musical interactions along the way. Not as a question of one "influencing" the other, but more as two kindred spirits finding much to discuss and exchange, both compositionally and pianistically.

Were you laughing at the movies, or were you laughing at her for not laughing at the movies?

About those 45s...are they all marked "for promotional use"? Because that's an accounting gambit. otoh - jazz 45s...yes, they existed well into the 70s...I suspect more for accounting and DJ use as for jukebox, but I can tell you that jukebox content varied widely from neighborhood to neighbor hood. .

This is a good record.

Kate McKinnon never looks comfortable. And thank God for that!!!

What were the first musics recorded for Compact Disc, though? Jazz and Classical