JSngry

Freddie had audience conflicts for a while. He himself told the story of debuting his Breaking Point band and material and clearing the house before the end of the set. That seems to have really dying him. I don't know that I would say that he wanted to be a "star", but he sure didn't mind being one. And, you know, why not?

That explains everything. Ok, Black Coffee is this, which also explains everything. https://www.discogs.com/release/9891497-The-Pointer-Sisters-Thats-A-Plenty Their eventual changing of labels/producers/overall direction was a major improvement, imo.

Once upon a time, it was on two networks at the same time, NBC & CBS.

I remember where I was when the news came on that he had died - working a summer job in the East Texas oil field. The crew truck had some station on that had Mutual News at the top of every error, and Cannonball's death was announced, not as a lead story, but towards the end. He had that level of cultural penetration. I also remember sonny Stitt's passing being noted on Entertainment Tonight. Talk about unexpected....

Is it December already? Seems like just yesterday it was November. Where does the time go? TRACK ONE - Who did the first break it down/meet the instruments song, was it Lunceford/Rhythm Is Our Business? No matter, this one has gooten more famous now than ever. It's a great groove, which to reference Lunceford again, ain't what you play, it's the way that you play it. Becuase the song ain't too much, but the way it's played certainly is. TRACK TWO - That's Joe and Alice from The Elements. This one and Multiple are really good, but maybe overlooked today? Alice's harp here is not really substantial, more veneer than wood, but hey, she's on piano as well, and Joe came to play. The mix is weird, but that's how they did it then, for whatever reason. TRACK THREE - Too much of not enough for me. TRACK FOUR - Charles Lloyd/Billy Higgins, I think. I havelistened to this record but not yet lived with it. Drummers have voices too, just like any other instrumentalist worth a damn. And not even Manfred Eicher can hide Billy Higgins' voice. And Lloyd, so much fuller a player now than he was when he first got famous. TRACK FIVE - Don Braden covering "Can't Hide Love". More jazz players should have done this one, GREAT song,but you know...I liked this record until I didn't, which on damn near every track when Don Braden went from communing with Harold Vick to communing with god knows where they puck up all that full of empty runningdoodle bullshit. PICK ONE, DAMMIT. I know which one I like, but it ain't my record. TRACK SIX - One for the geezers here, LOL. The pianoless-except-for-Chuck Chuck Mangione Quartet Mercury record with Gerry Niewood and I forget who else, the one with "The Land Of Make Believe" on it. Time for a King Of The Hill episode, but I don't think Hank ever heard this one. TRACK SEVEN - Stone. Cold. Classic. Period. TRACK EIGHT - Parker & Hamid can just play by themself and any damn body can be on top of it and they will sound just fine. Leena Conquest is just a plus, those other two guys...who care? TRACK NINE - hmmmm.....spirited, for sure. TRACK TEN - I dunno, not Free Design, not Spanky/Our Gang/Bob dorough, not sure who, or, really, why, unless they had nothing better to do just because they could. TRACK ELEVEN - I like the trumpet. A lot. I'd have to hear the rest of the record to know if this was the best they could do, here it's just, like energy/repetition, and some weird piano processing. But you know, let's see. TRACK TWELVE - Hmmmm....too easy to play this way and not have anything else going on. And you can't really tell for sure until you get there. My jury is still out, because that probably ain't Pharoah (tone is not full enough, but maybe that's just the recording), and if not that, then why this? TRACK THIRTEEN - Drummer's just a little too on top of the beat. Too bad, because otherwise, maybe like that mid-70s Sonny band that did The Cutting Edge, only with B-3. Oh fuck, bagpipes, that IS Rufus Harley, ok! 13 tracks, oh my! Thanks for assembling and sharing!

In California.

Late to the game on him, but wow. RIP

Interesting!

https://www.roadsideamerica.com/tip/27885

Not at all. I think that the whole Miles/Modal thing had Cannonball off balace in terms of phrasing and cadences, like, he kep expecting there to be a landing point where there usually would be one and OOPS, not, not yet. He was in on Ground Zero, and as ready for it as Trane was, I think Cannonball was that much NOT ready. He figured it out, though. The great ones always do.

I love the notion that you have to change your technology in order to change your behavior.

Glad to hear that the Black & White set is heading towards the finish line! If they can't find ownership now....wait until they release it and it gets some press....

I've heard that a lot over the years. "Influence"...not just the notes you play, but the spirit you engage while playing...or when you're not playing, for that matter. Another thing I've heard along the same lines was that Cannonball never faltered. sometimes, like on "Milestones" and KOB, he might be unsure about how to lock into the groove, but his fingers never failed him. And when, in the words of the one really aware saxophone teacher I had said - "one he decided that he needed to be Cannonball Adderley and not John Coltrane", hey, it all came together, chops, ideas, voice, and yes, personality. a personality you could build a band around, a personality you could build records around, a personality that you could put anywhere and it still speak in its own true voice.

Covid has been like Viagra for Pfizer!

Other than "Ease On Down", what song has stuck from The Wiz? Or from Dreamgirls? It's not necessarily that Broadway abandoned "pop culture" as much as it is that Broadway started engaging pop culture in a different way - the show itself took focus. There have always been road companies, but they used to kind of be back-end affairs, for people who were celebrity game show panelists or something like that. Now, jeez, you got road companies galore, some with pretty "big" names, and every major-ish metropolitan has a "Summer Musical Series" (that's what it's called here). No longer "the song is the thing" now it's "the show is the thing", which simply means aim lower than Sondheim would (or could) do. Also impacted - working musicians. More and more road companies rely less and less of pit orchestras and more and more on tracks.

And then there were shows like Sophisticated Ladies, and Ain't Misbehavin', where hit songs were the basis of the shows. Jersey boys, all that stuff like that.

I was literally about to literally mention literally the same thing, literally.

Variety shows offered an outlet, and after they died...i don't know, talk shows? The scholck musicals still wer big, though, crap like "Annie"...TOMORROW. Yuck.

If you played in funk/rock bands, you learned to play in funk/keys keys, which were usually driven by the open-string guitar keys - E, B,, G, D, and A Same thing in blues bands. Not so in jazz. That Db in swing days, still figuring that one out. Used to play with certain dance bands that uses old stock charts and that was unexpected, to say the least. What was really wonky was playing in a rehearsal group that had all the old Dave Pell Octet charts....talk about wonky keys!

Not sure about the "no hits" thing....certainly not Rock Top 40 hits, but again, there were other outlets besides those...from "A Chorus Line", "What I did for Love" was all over MOR Stations and TV variety shows. And "One" somehow seeped its way into pop culture via commercials and such. If we won't call those "hits", we can certainly say they had cultural/media penetration. Now, Forum, that's a different deal. About the only song from that one I can recognize by name is "Comedy Tonight", and then, just because it was used as the theme song for a pretty good 70s summer replacement show on CBS that was hosted by Robert Klein. But I knew the TV show loooong before I was aware of its origins. In Jazz, though, didn't Richie Cole do it on one of his records? And I know tht Pepper Adams quoted it on one of his Muse albums, in the middle of "My Shining Hour".

Got mine today as well. Looks to be a pretty full annotation. I only wish my eyes were younger

Eddie Lee Slaw - Not Enough

The RLR release does not have the final piece played/recorded, which is as high (not sick, high) as I've ever heard anybody play, even Chet Baker That might make it of a really, uh, specialty interest, but Bird being Bird, it fascinates me to no end At least as I remember it.

Big Man was perhaps the ultimate stretch. I slept on it for decades, and that was my very large bad Stretching without vision is cool, but stretching in service of a larger vision is one of the more noble of human behaviors. In the end, my affection and admiration for Cannonball goes beyond things like "influence", or even "music". I admire him as a human...and the fact that he just didn't take care of himself and died way too fucking soon doesn't at all take away from the magnificence of his humanity while he lived.

Who are we talking about being "influenced"? Players? Maybe more than you might at first think? Bandleaders? Hell, who wouldn't want to have a band - and career - like that? The general public? The guy sold a LOT of records and touched a LOT of people (not unlike Gene Ammons). If you're travelling down the highway of jazzplayerinfluence, yes, you will see the big bill boards of Rollins and Trane (and justly so). But behind the billboards, there's a lot more of life and people. And there's always some kind of little sign that will say "Cannonball's - GOOD FOOD! EXIT NOW". So, you know, don't form an opinion of the town by just reading the billboards, get off the damn highway and try the local spots.