JSngry

This is the Garner version that stayed in the stores seemingly forever, from 1961. This is a repackaging of earlier Mercury recordings, correct? Yet, Columbia had a 45 of it from a 1957 album that was not in print when I started buying records, so I guess people who only wanted the song bought the Columbia 45, people who wanted an album bought the Mercury, and they all lived happily ever after? Yep. He swung it too!

Oh my! I might be misrembering, but didn't Mathis have a hit on it before Garner released a record of it, by like, a matter of years? Mathis in the 50s, Garner in the 60s? The chronology of this has always baffled me...

From Cheers? Not remembering what he did with Misty...it's been a while.

Appeal for players? It's familiar/popular, and the changes are easy, yet attractive in the way they move. Appeal for audiences? Johnny Mathis really drove that one home. Even if you've never heard it, it's in the ether...or was, anyway. "Look at me...." it's ingrained, and will be until it's not. Also...the pattern of the A-section changes...you can reference "The Nearness Of You", "I Want to Talk About You", "Four", god knows what else. It's the way standards work, most of them have templates that get different melodies and just enough tweaks along the way that they become distinct and generic at the same time. People like that, musicians and audiences alike (except for those who don't!).

I have a little soft spot in my head, er...heart for Blackmon's records. The unabashedly 60s Tony immersion is something I have to listen to once I get started on it. Tony himself had moved on, so it was a nice parallel nostalgia-reality. But as far as gripping you by the musicwows and not letting go, no. The most REALLY M-Base Muse records were made by Lonnie Plaxico, of all people!

Yeah, and between Cindy Blackmon & Wallace Roney, there's a decent enough amount to collate as an "output"...the Blackmons in particular shine a bit of light...not really a blinding flash, but a little light. The Roneys are essentially derivate of what everybody involved thought Wynton's bag was, but Antoine Roney's Wayne is a bit fresher than was Branford's. And so forth, there are some records there to be listened to, if only to gain a broader perspective.

This is a reminder that The Last Days Of Muse saw it trying to create a kind of a Blue Note style "repertory players" for the M-Base group. Today we remember all the other types of records from those Last Days Of Muse, but there's a rather large number of this type by these players. Not a lot of "electricity" in the instrumentation, but still, a relatively lot of people made a relatively lot of records that were not organ/hardbop/HoustonEtta.

Hamilton Joe Frank & Reynolds The T-Bones Speedy Alka-Seltzer

You can't forget what you never knew.

Clever Is Forever.

Indeed. But some people revolt against the idea of "technique", thinking that it's a substitute for true creativity. And indeed it can be, often is. But that's a personal flaw not related to the technique itself. I've heard people want to get less hung up on technique, but I've never heard anybody talk about hey, I need to play my instrument worse.

I do believe that the technical exercises are of no real musical value. But as physical exercises... let's just say that the sooner you get them done, the sooner you can move on to other things. James Moody's take on it was - if Iiss a day, I can tell. If I miss two days, musicians can tell. And if I miss three days, EVERBODY can tell. Just sayin'...

As much of a fan as I am of making it up as you go, you do need to get your musical memory and digital strength in sync if you want to have successful outcomes. Otherwise...the person has the ideas, but it's the body that brings them to fruition. I ain't never seen anything play itself, not even a computer. Sam Rivers said that the way to tell who can really play and who is halfassing it is to listen to whether or not there's certain chords or keys where a player resorts to licks or other devices that they don't use in the easy parts of the song, or in the easy keys. That's the difference between a musician and a hobbyist.

Applause was a subsidiary of Liberty/Capitol, the company that then owned Blue Note. Down there in the lowest right, really fine print.

Snoopy Ruff Dwike Mitchell

The Last Poets Busta Rhymes H. Rap Brown

Bill Cullen!

Oh my! From one of the founders of MTV, no less.

Yeah, no problem with that! It sounds "local" but in a good way, like, not everybody in L.A. is a "big name". Same in any big city. Just because they stay local doesn't mean they don't have skills. The $4.99 Discogs seller has a minimum order requirement, and you know, not in the mood for that. So I paid $8.99 for one from a different seller. I am curious. I'm also curious if a creative accountant could find a way to finagle the $20K+ she won on Super Password into a promotional expense...I mean, here we are about 40 years later and I'm buying her record because she stayed on playing the game long enough for me to finally look and see who she was, if in fact she really WAS "anybody". The money she won has resulted in a sale, so....deductible, right? I do have an odd affection for Googling random game show contestant fro the previous century to see if the show up on the internet, and occasionally they do. As it turns out, people are everywhere, allegedly, but...prove that, ok?

Looking at Tyrone Washington on this one!

Wilton Felder, he just played.

Let's not forget Lake's long sting with the WSQ!

Maybe later today I will look at it. I've definitely paid more for less, that's for sure.

Not yet...grab it if you want it, please! I wish Valerie Bishop was still around, this seems like somebody she would have known.