JSngry

And yet...it wasn't a-melodic enough for it to not be the subject of a halftime medley/routine for my first-year NTSU Marching Band! Corniest shit I've ever played in a student situation, ever.

I like most of his Capitol records more than I like most of his Emarcy & Riverside records. There you have a jazz alto player playing really well. But on the Capitol records, you get CANNONBALL. Not just a damn good alto player, but a freaking personality. And a personality with a band built around that personality, a band that played a shitload of a variety of musics for a shitload of a variety of peoples. Not everybody can do that, you know.

I wonder if this new band will go into the studio soon?

How great was Cannonball? As great as Cannonball was!

Ok, but Broadway also includes Weber and Lin Miranda and whoever did Rent/ Chicago/etc. And are those "good lyrics" but "bad songs"? Hell if I know, I can't really get through any of them. And yet the shows...immensely popular, and in the case of of Weber, some sickening songs that really were hits. So what's really going on here? To be honest, I don't really care, but any time there's a conversation about ANYTHING getting separated from pop music, my default is to wonder about pop/popular music and just how vital IT has become. And from all I get told, it's a Tik-Tok world now and everybody else is a trailing indicator. Let's see how sustainable that is...but I'm placing no bets.

Maybe it's no so much any thing consciously abandoning anything? Maybe it's just that it's gotten REALLY easy to get known answers to known questions? Which is a wonderful thing. But then...at what point does not having to work for THOSE answers devolve into thinking that those answers are ALL the answers? And then when the people who have questions that do not necessarily have those answers ask them and look for answers and fewer and fewer people care about any of that...insulator does indeed ensure. I don't know that "majority taste" has ever been predicated on "curiosity" as much as it has been "satisfaction", but when in the course of human events the intersection between the two turns more divergent than convergent... Maybe it's just a phrase we're going through... hell if I know.

Cool, I know how to hunt Thanks for shining some light on this one. Much appreciated!

Chicago, that was another one. To be fair, though...do melodies/songs even serve a functional purpose these days for the culture at large? Other than being sampled as nostalgic signifiers on ads/movies/etc? Have songs evolved into fodder for memes, and that's it? Serious question, 30 or so years into the Digital Paradigm Shift.

And then Coco went out of business! I very much like those different electric organ sounds (even the BE is electric!). They show up all over the place in various "ethnic" musics and I very much like the vibrational space the create, maybe because the lack of naturally generated overtones endemic to their method of tone production? Just a guess.. That's a killer band. Did you get this one off of eBay or where...interest level exists, for sure!

Zim Zum Bob Porter Way Out Willie

What's the deal on that one? Totally unfamiliar here...

The stuff I've heard from "recent" Broadway hits like Rent & Hamilton...the shows are hits, but none of the songs are? and they really don't sound like songs, they sound like plot devices set to music. So is that insular, or is that just flat-out negation of song-ness? I'm ok with that, really, "songs in the old sense, pretty much obsolete imo, but are these any better? Not to my mind. I don't blame Broadway, though. I blame society as a whole. It's an increasingly insular world, and at the same time more standardized. These are very odd times.

I heard "easy listening", and other non-rock AM stations (and even more FM) playing records from Broadway shows well into the middle 1970s. The newer shows might not have had as many hits as the older ones, but they had a few, and they got played on the stations that would play them, of which there were some. Not a lot, but some. And as Felser points out, "Broadway" moved in two directions, both more insular and at the same time more lowest-common-denominator. Andrew Lloyd Weber, anybody?

What kind of radio are we talking about here?

Insular...like jazz? Or lazily path-of-least-resistance "populist", like the other jazz?

Can't say that I neither agree nor disagree with him on that, and not just about Hart. "Broadway" in general seems predicated on a certain amount of "cleverness", of which I am not necessarily fond. None of this is 100%, though, and Hart transcended the merely "clever" often enough so that any observation such as Sondhiem's that does not acknowledge the very nature of the form seems to me to be a bit of denialistic ego-puffery.

Actually...there are a few Lennon/McCartney rejects of indeterminate age that get played during doodle time. One has to wonder if they got into the publishing pipeline at all before this airing. Most of them seem pretty impromptu, but one or two sound like plausible real songs..

Joe Pyne Arthur Ashe Marla Maples

Plus, one of the last things that happens on film is John going absolutely gushy to George and Ringoabout his first meeting with Alan Klein. Their future will be strong! Paul was out of the room, but I'm sure he will share John's enthusiasm!

Also, there is more than one occasion where John and Paul team up to work out an idea or arrangement or to just be silly and they just TOTALLY block everybody else out. Even Yoko. It's obvious that they had a deep intuitive bond that wasn't going to end suddenly or cleanly. Let It Be is about to. This one is about gradual decay. And the rooftop concert...you watch these guys agonizing for a month about doing ANYTHING (and the literally day-by-day telling of the story is perhaps it's biggest asset), right up to the night before, maybe even hours before, and then once they start playing for real, it's game on for real. Once a band... Of course the dream is over. Hell, it's dead. But don let anybody tell you that this is where it died. If you want to read about where it did, check out And In The End by Ken McNab which is a month-by-month recounting of Beatles 1969. Pretty much picks up the rest of the story and takes it home. Nostalgia sucks, but history is fascinating.

Now I don't think I pre-ordered, they didn't take preorders on this one. I just had it on me Notify list and got the email before I woke up. Ordered mid- morning and was shocked at the quick turnaround, to be honest.

The first one, it came on the radio one day in the car, and I reroted directly to a record store. SO much swing, enough swing to reroute a car for crissakes!

Shoulda pre-ordered!

I like both of those records very much. They swing like swing swings with all of those people.

Watching this on Disney+, starting Part 3. Not as grim as Let It Be, but it still ends the same,. But whereas Let It Be is depressing, this one is just sad Must-see imo, for anybody who wants to see a fuller idea